The House of the Seven Gables (1940)

THE HOUSE OF THE SEVEN GABLES (1940)
Article #945 by Dave Sindelar
Viewing Date: 10-16-2003
Posting Date: 3-14-2004
Directed by Joe May
Featuring George Sanders, Vincent Price, Margaret Lindsay

Two brothers and a cousin fight over the possession of a house which lies underneath a curse.

I’ve never really considered Nathaniel Hawthorne a horror writer; he merely used certain elements common to horror stories as background to tell his allegorical tales. I’ve also never read this particular work of his, so this movie is my first exposure to the work; if it’s the least bit faithful to the novel, it might well be worth a read sometime, and it certainly seems as if it would be an easier read than ‘The Scarlet Letter’. Both George Sanders and Vincent Price give fine early performances in this one, though I’m always a little put off by the sound of the voice of the younger Price. The aforementioned curse and the gothic feel of the house are the primary horror elements, though they don’t play out as horror. This one is of definite interest to fans of marginal horror and Price afficiandos.

The Horn Blows at Midnight (1945)

THE HORN BLOWS AT MIDNIGHT (1945)
Article #944 by Dave Sindelar
Viewing Date: 10-15-2003
Posting Date: 3-13-2004
Directed by Raoul Walsh
Featuring Jack Benny, Alexis Smith, Dolores Moran

An angel is sent down to Earth to blow the final trumpet at midnight, but runs into resistance from a couple of fallen angels.

Jack Benny used to joke about how bad this movie was, but in truth it really isn’t all that bad; in fact, it’s quite clever and amusing at times. However, I do understand somewhat where he was coming from; Benny’s comedic talents largely relied on cerebral subtlety and character; you got to know his persona so well that he could get laughs with the slightest of his expressions because you knew what he was thinking. Unfortunately, that style of comedy is somewhat lost in the slapstick that rules in this movie, which is more reminiscent of the comedy of IT’S A MAD MAD MAD MAD WORLD than of the type of comedy of which Jack Benny was a master. However, it has some fun ideas, and the cast has a lot of familiar faces, including Franklin Pangborn, Margaret Dumont, Mike Mazurki, and a very young Robert Blake. All in all, it’s a mixed bag and a curiosity piece, but not totally without merit.

Hold That Ghost (1941)

HOLD THAT GHOST (1941)
Article #943 by Dave Sindelar
Viewing Date: 10-14-2003
Posting Date: 3-12-2004
Directed by Arthur Lubin
Featuring Bud Abbott, Lou Costello, Richard Carlson

Two gas station attendants are present at the death of a gangster, and become heirs to his property, where it is believed a fortune is hidden.

There really is nothing new or novel about an old dark house comedy; almost every comedian of the time made at least one of these, and Abbott and Costello would revisit horror extensively in the latter part of their movie career. Thay were, however, at the peak of their form and their popularity at the time this one was made, and it has a greater deal of freshness than some of their later forays, the gags being a little more creative and the timing somewhat sharper. There are really no ghosts to speak of, and much of what happens doesn’t make much sense, but it’s lively and quite entertaining. The gag I remember most as a kid (involving bedrooms turning into casinos) is here in fine form, and it’s entertaining to see Evelyn Ankers and a young Richard Carlson, as well as smaller roles for Shemp Howard and Mischa Auer.

Here Comes Mr. Jordan (1941)

HERE COMES MR. JORDAN (1941)
Article #942 by Dave Sindelar
Viewing Date: 10-13-2003
Posting Date: 3-11-2004
Directed by Alexander Hall
Featuring Robert Montgomery, Evelyn Keyes, Claude Rains

A fighter’s soul is snatched prematurely from this world by an over-zealous angel and his body is cremated before he can be returned to it. Therefore, the forces that be have to find a way to return him to the land of the living.

This movie is regarded as a classic, but for some reason whenever I watch it, I feel it falls just a hair short of the greatness that its reputation implies. This is despite many of the movies elements that I really do admire; it has a good story and a clever script, and I always love to see Claude Rains and Edward Everett Horton in action. I also quite like the spirited performance from Robert Montgomery. If I had to choose a reason for my disappointment, it would be that I think the pacing is not quite up to the pitch it really needs to be, and there are moments when I find myself wishing the story would move on along a little faster. This feeling does not arise, however, when James Gleason is on the screen; his portrayal of the perpetually confused Max Corkle is one of the great comic performances of all time, and he steals the show from the rest of the cast. It would be no surprise that he would prove the centerpiece of the semi-sequel, DOWN TO EARTH, though that movie is certainly nowhere near the quality of this one. The movie also features the familiar faces of John Emery and Evelyn Keyes.

The Haunting (1963)

THE HAUNTING (1963)
Article #941 by Dave Sindelar
Viewing Date: 10-12-2003
Posting Date: 3-10-2004
Directed by Robert Wise
Featuring Julie Harris, Claire Bloom, Richard Johnson

A scientist investigating the paranormal takes a team into Hill House to investigate reports of its being haunted.

One of the reasons I embarked on this MOTD project was to finally organize my watching in such a way that I was bound to explore many of the great genre movies that had somehow eluded me for many years. This is one that I’d never had the pleasure of seeing, though I had heard many things about it. In some ways, it’s interesting to compare it with HOUSE ON HAUNTED HILL; the Castle movie is a carnival spook-house ride, whereas this one takes itself quite seriously indeed. The characters are also more complex and better developed than those of the Castle movie, and the scares are less blatant and more subtle. It’s also interesting to realize that one of these movies attempts to debunk its thrills towards the end, while the other makes no such concession. I love the way this movie uses sound to convey its horror (many of the scary moments are heard rather than seen), and I also sense a subtle use of distorted visuals to make the house feel wrong; when I first see the house, I can’t help but notice that it doesn’t look quite straight, and a later comment about none of the edges in the house ever coming to a perfect right angle adds to that sense of unease. It also looks like a movie that would be great for re-viewing, as I can sense the subtle similarities between the characters of the researchers and those of the various residents of the house who have died over the years. I’m very glad I got a chance to finally see this one, and I agree that it’s one of Wise’s masterpieces.

Happy Land (1943)

HAPPY LAND (1943)
Article #940 by Dave Sindelar
Viewing Date: 10-11-2003
Posting Date: 3-9-2004
Directed by Irving Pichel
Featuring Don Ameche, Frances Dee, Harry Carey

A pharmacist is wracked with grief and bitterness when his son loses his life in the navy during World War II, and is then visited by the ghost of his grandfather.

There’s must be a special category of ghost stories in which the ghost is largely a plot device to lead us into a long flashback sequence; after all, that’s basically the use of the ghosts in A CHRISTMAS CAROL. In this case, the flashback takes most of the movie, and this sequence is fairly predictable; it’s your typical story of a boy growing to manhood, and it gets tiresome before it’s through. However, the opening and closing sections of the movie are quite strong and very moving indeed, and it is here that the movie’s sincerity and unhysterical approach work very well indeed. Don Ameche’s performance as the grief-stricken father is definitely one of the movie’s strengths. By the way, the son is played by Rocky Jones himself, Richard Crane, and his friend from the Navy is played by Harry Morgan.

Also, special note should be taken of the presence of Frances Dee in this movie, who is known to fans of fantastic cinema as the protagonist from I WALKED WITH A ZOMBIE (which came out the same year as this movie). Her death was just a few days ago, and I dedicate this MOTD to her memory.

Gulliver’s Travels (1939)

GULLIVER’S TRAVELS (1939)
Article #939 by Dave Sindelar
Viewing Date: 10-10-2003
Posting Date: 3-8-2004
Directed by William Bowsky, Orestes Calprini, et. al.
Featuring the voices of Jessica Dragonette and Lanny Ross

Gulliver lands in the land of Lilliput and gets caught up in their war with Blefiscu.

This was Fleischer Studio’s attempt to get in on the full-length animation market that Disney had opened with SNOW WHITE AND THE SEVEN DWARFS, but this one was something of a failure. For one thing, there didn’t seem to be any attempt to change the approach they used for shorts in making the movie; the movie’s plot is weak, not to mention nonexistent for good stretches of the running time. Furthermore, the ‘realistic’ characters (Gulliver, the prince and the princess) are stiff, bland and seem to come from another movie entirely; when Gulliver’s most memorable lines are “Well, well.” and “My, My.”, you know you’re not dealing with an exciting and vibrant character. The more comic caricatures work better, though Gabby is annoying and the music is largely forgettable. There are some very evocative moments here and there, but you know the plot is stalled when Gulliver doesn’t even wake up until the movie is half over, and even after that, most of the footage consists of his interactions with the various characters that neither advance the plot nor are interesting in and of themselves. It’s not a disaster but a disappointment, and in the long run, it’s no surprise that Fleischer Studios are better remembered for their shorts than their features.

Gregorio and the Angel (1970)

GREGORIO AND THE ANGEL (1970)
(a.k.a. GREGORIO Y SU ANGEL)
Article #938 by Dave Sindelar
Viewing Date: 10-9-2003
Posting Date: 3-7-2004
Directed by Gilberto Martinez Solares
Featuring Broderick Crawford, Connie Carol, German Valdez (Tin Tan)

When a statue vanishes from a church in an orphanage, the well-loved but drunken janitor is blamed and then fired. He leaves the orphanage and ends up encountering a little girl who can work miracles.

There are definite charms to this fantasy coproduced by both the United States and Mexico. One is the performance of Broderick Crawford, who wisely underplays the role of the janitor. Another is the Mexican scenery that serves as a background for much of the action. A third is the presence of Connie Carol, who is cute as the dickens as Inez, the little girl who can work miracles. I’m less taken with the static, lifeless direction, a factor that made the movie rather tiresome until the other charms really started to work on me. I’m also not taken with German Valdez’s performance as the devil; his blatant mugging would have been appropriate in high slapstick, but it’s intrusive in this movie which requires a much gentler comedic touch. The aimlessness of the plot is also a bit of a problem, and after a while I felt the story was largely there just to give us as many ways as possible for Broderick Crawford to sneak a drink. So overall what we have here is a rather odd mixed bag, and I’m not quite sure myself how I feel about it. It does however avoid the sickly sweetness that is possible for this sort of story, and that is a plus.

Superman (1948)

SUPERMAN (1948)
(Serial)
Article #937 by Dave Sindelar
Viewing Date: 10-8-2003
Posting Date: 3-6-2004
Directed by Spencer Gordon Bennet and Thomas Carr
Featuring Kirk Alyn, Noel Neill, Carol Forman

Superman comes to Earth and does battle with a villain known as the Spider Lady (not to be confused with the Spider Woman).

I’ve already covered the sequel to this serial (ATOM MAN VS. SUPERMAN), and many of the things I liked about that one I like about this one. I don’t mind the use of animation for the flying sequences; though it may seem jarring at first, it does add action and interesting movement to those sequences. I like the first several episodes the best, as they deal with the origins of Superman and his joining the reporting team of the Daily Planet. I also like the fact that using a stock group of well-known characters gives us a greater variety of performances among the secondary characters than is usually found in serials. The serial also does not include a single episode that consists mostly of footage from earlier episodes, which is also a plus. However, there are certain disappointments; the Spider Lady is as dull a serial villain as any I’ve known (despite her slinky black dress); Carol Forman doesn’t appear to be having any fun with the role, and comes across as if she’d much rather be home painting her toenails. Also, things get very silly at times; though I realize that the suspension of disbelief is necessary for this sort of thing, I found it impossible to swallow that Superman could use his x-ray vision to pierce through the disguise of a villain IN A PHOTOGRAPH to figure his real identity. All in all, I’m afraid I prefer the sequel a little bit more.

The Devil’s Foot (1921)

THE DEVIL’S FOOT (1921)
Article #936 by Dave Sindelar
Viewing Date: 10-7-2003
Posting Date: 3-5-2004
Directed by Maurice Elvey
Featuring Eille Norwood, Hubert Willis, Harvey Braban

Sherlock Holmes finds four dead people seated around a table, and investigates.

The Walt Lee guide describes this one as being borderline horror, but other than the rather bizarre circumstances of the death, I find very little that would qualify this as horror. I’ve read all of the Sherlock Holmes stories at one time or another, but that doesn’t mean I can remember them, so I don’t remember precisely what the devil’s foot is, and unless I missed something in my copy of the movie, there’s no explanation there. It’s a good story, though, and this short adaptation of it works well enough, with Ellie Norwood makes a fairly decent Holmes. Horror fans, however, will find little here to catch their attention.

P.S. I’ve recently been informed that the devil’s foot is the name of the plant that plays a role in the cause of the deaths.