Month: December 2018

Till Dawn Do Us Part (1972)

TILL DAWN DO US PART (1972)
aka Straight on Till Morning
Article 3055 by Dave Sindelar
Viewing Date: 9-18-2009
Posting Date: 12-25-2009
Directed by Peter Collinson
Featuring Rita Tushingham, Shane Briant, James Bolam
Country: UK
What it is: Offbeat Hammer psychothriller

A plain young woman dreams that her life can become like the fairy tales she writes. She leaves home and goes to live in London to find the man of her dreams. She is eventually drawn to a young man who lives in a big house and who has a Peter Pan infatuation, and she moves in. But the man is not sane…

The first part of this movie uses a lot of jagged fast-paced editing which makes it a little difficult (though far from impossible) to get to know the characters and their situations. This is surprisingly effective, because it puts the viewer on edge despite the fact that it takes a while for the thriller aspects to really manifest themselves. The story is highly character-driven, and the movie takes the time to establish and develop those characters. Rita Tushingham is excellent as the neurotic, fragile woman who is drawn into the web of a man who she doesn’t even recognize as a threat because their respective fantasy fixations dovetail so neatly. The movie eventually settles down into a more straightforward style, and the story almost becomes predictable, but it still has some surprises even after this point. The movie does turn the screws very nicely, and it makes the psychosis of Shane Briant’s character seem real. My biggest problem with the movie is the ambiguously downbeat ending; we’ve become so attached to the central female character that it’s unsatisfying for it to end this way. Incidentally, the title that I watched this under is obviously one of those that have been tacked on for a video release of some sort; the freeze-frame and cheesy graphics when it appears are a dead giveaway. I much prefer the original title, STRAIGHT ON TILL MORNING, which will become quiet clear once the Peter Pan references start to crop up. All in all, this is an interesting if really odd movie from Hammer.

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Son of Samson (1963)

SON OF SAMSON (1963)
aka Maciste nella valle dei re
Article 3054 by Dave Sindelar
Viewing Date: 9-17-2009
Posting Date: 12-24-2009
Directed by Carlo Campogalliani
Featuring Mark Forest, Chelo Alonso, Angelo Zanolli
Country: Italy / France / Yugoslavia
What it is: Sword-and-Sandal fantasy of the evil queen variety.

The son of Samson (known as Maciste) comes to ancient Egypt to do battle with an evil queen who has joined forces with the Persians to enslave the villagers and steal their lands.

If ever there was a series of movies that seemed plotted with a Mad Libs book, it would be the evil queen variety of the sword-and-sandal epics from the sixties; just change the locations, the names, and a few details, but otherwise, it’s the same plot. Still, Chelo Alonso may be one of the sexiest evil queens of the bunch, and she does a mean belly dance as well. Mark Forest plays Maciste this time around, and his waist is so thin while his upper torso is so developed he looks almost insectoid. This one is bloodier and more brutal than most, with a couple of memorable scenes; in one, we see villagers buried up to their heads (or shins, for those buried the opposite direction) in a field full of snakes, and in another, one of those chariots with bladed wheels runs through a crowd of enslaved villagers. Maciste’s great strength and a charm that puts a man under hypnotic control are the fantastic elements here. Outside of the hackneyed plot, its worst problem may be its pacing; it wanders around for its first hour and then tries to pack as much of its plot as it can into the last thirty minutes.

I must be nearing the end of these…

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Sergeant Dead Head (1965)

SERGEANT DEAD HEAD (1965)
aka Sergeant Deadhead the Astronaut
Article 3053 by Dave Sindelar
Viewing Date: 9-16-2009
Posting Date: 12-23-2009
Directed by Norman Taurog
Featuring Frankie Avalon, Deborah Walley, Eve Arden
Country: USA
What it is: Beach party movie transmogrified into a non-Disney shopping cart movie with a military milieu.

Sergeant Deadhead is accidentally shot into space with a monkey. The space trip alters his personality, and when he returns, the military echelon decides to hide his aggressive new personality by locking him up and finding a look-alike to take his place. Hilarity ensues.

Though it isn’t strictly a ‘beach party’ movie, this American International comedy has a lot of the same actors and the same basic feel as those movies. It made me think about the similarities and differences between the ‘beach party’ movies and the Disney ‘shopping cart’ movies. The Disney movies had better special effects; the ‘beach party’ movies had more songs. The ‘beach party’ movies were sexier, but the Disney movies were smarter. Both made use of big-name actors, and occasionally pulled their talent from the same sources (Annette Funicello isn’t in this one, but she’s one obvious example). And both types of movies were bright and colorful.

This one is pretty dumb; the songs are weak, the plot is a mess, and it wastes Buster Keaton in a big way. Still, it did net me a couple of laughs, and there’s some fun to be had with the cast of name actors (which, along with those mentioned above, includes Fred Clark, Cesar Romero, Gale Gordon, John Ashley, and Harvey Lembeck). It’s a good-natured enough time-waster, but there’s better ones out there.

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Till Death (1978)

TILL DEATH (1978)
Article 3052 by Dave Sindelar
Viewing Date: 9-15-2009
Posting Date: 12-22-2009
Directed by Walter Stocker
Featuring Keith Atkinson, Marshall Reed, Belinda Balaski
Country: USA
What it is: Love from beyond the grave

A man has a nightmare that he is locked in a crypt with a dead woman stalking him. He is awoken by a phone call from his fiancee, who he will marry that day. They marry, but she dies in a car accident on their wedding night. He survives the accident, but is torn by guilt. He decides to visit her in the crypt where she’s buried…

This earnest but cheesy horror film seems so out of place in the late seventies that I was sure that it had been shot earlier. And sure enough it was; it was made in 1974 and sat on the shelf for four years. I’m tempted to describe it as a cross between CARNIVAL OF SOULS and the second half of 100 CRIES OF TERROR, except that makes it sound more complex than it is; the plot is obvious and threadbare, and, unless you find the endless conversations about love to be heartfelt and compelling, it’s probably going to bore you. It must have been made on a tiny budget, and it remains Walter Stocker’s sole directorial credit, though he did have a career as an actor, and appeared in the infamous THEY SAVED HITLER’S BRAIN. I’m not surprised it has its supporters, though; it has a certain low-budget charm for all its problems.

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Un soir… par hasard (1963)

UN SOIR… PAR HASARD (1963)
aka One Night… by Accident
Article 3051 by Dave Sindelar
Viewing Date: 9-14-2009
Posting Date: 12-21-2009
Directed by Ivan Govar
Featuring Annette Vadim, Michel Le Royer, Jean Servais
Country: France / Belgium
What it is: Mystery thriller with science fiction and possible Gizmo Maguffin overtones

An atomic scientist has a motorcycle accident. When he awakes, he finds himself in the castle of a man who claims to have brought him back from the dead. The scientist ends up falling in love with his host’s mistress. However, everything may not be what it seems.

Since my print is in unsubtitled French, I found it necessary to hunt around for some plot descriptions to help me sort this one out; the plot description above is cobbled together from what I found out. Oddly enough, I got two different plot descriptions, though they aren’t incompatible; however, I’ve mostly avoided touching on the second one I found (which reveals a much more conventional plot) because I think it’s a major spoiler. It also reveals why the movie is a bit of disappointment; the plot description above makes it all seem more mysterious and eerie than it ultimately turns out to be. I suspect that if I ever get a chance to see this one subtitled, I’ll like the first part a lot more than the last part.

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The Secret of the Black Trunk (1962)

THE SECRET OF THE BLACK TRUNK (1962)
aka Das Geheimnis der schwarzen Koffer
Article 3050 by Dave Sindelar
Viewing Date: 9-13-2009
Posting Date: 12-20-2009
Directed by Werner Klingler
Featuring Joachim Hansen, Senta Berger, Hans Reiser
Country: West Germany
What it is: Son of Edgar Wallace krimi, with slight horror elements.

A series of knife murders have an odd feature about them; the victims find that their luggage has been packed for them just before their deaths. Scotland Yard investigates, and discover that the murders are linked to an addictive drug called Mescadrine.

I didn’t know that Edgar Wallace’s son also wrote thrillers, but this movie was apparently part of a competing series of krimis that were based on his works. It’s not a bad one, though krimis seem to have the same basic elements; a strange mystery, a confusing story, and a comic relief character are three of the elements that pop up quite a bit. The comic relief character here isn’t too bad; he’s a “soundhound” that goes around recording random sounds, noises, and conversations, and some of the humor comes from the titles he gives each of his sounds. On top of the slight horror elements that usually crop up in these movies, we may have a little science fiction element as well, as I’m not sure whether the drug in question actually exists or is a figment of the author’s imagination. The middle of the movie does get quite confusing, but it sorts itself out towards the end, and the explanations for the murders are not bad. This one was moderately entertaining.

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Seconds (1966)

SECONDS (1966)
Article 3049 by Dave Sindelar
Viewing Date: 9-12-2009
Posting Date: 12-19-2009
Directed by John Frankenheimer
Featuring Rock Hudson, Salome Jens, John Randolph
Country: USA
What it is: Cautionary science fiction tale of a dream turning into a nightmare

A middle-aged banker is drawn into a business deal with a clandestine organization that specializes in allowing people to change their identity, regain their youth, and start a new life. However, as he finds out, starting a new life requires knowing what you want to do with your own life and being willing to leave the old one behind. And if you can’t…

Of the great movies that John Frankenheimer made during his classic period in the early-to-mid sixties, this is the one with the greatest amount of fantastic content. The premise certainly seems like a dream come true, especially for those who have reached that mid-life crisis that leaves them wondering if they have wasted their lives (just having recently turned 50 myself, I can understand the appeal), but the ominous undercurrents are there from the beginning; the abrupt revelations, the strange room of desk clerks, the blackmail scheme, and the unanswered questions (just where does the organization procure its corpses for the faking of the deaths?) should all leave you with the ominous feeling that all is not quite right here. The story is gripping, the direction is strong, the cinematography by James Wong Howe (which uses a number of fascinating lens distortions) is memorable, the score by Jerry Goldsmith is strong, and all of the acting is effective, with special notice going to John Randolph and Rock Hudson (as the before and after main character), Will Geer, Salome Jens, and Murray Hamilton. You should also recognize Jeff Corey, Richard Anderson, and Khigh Dhiegh. The movie is powerful and memorable, and the ending won’t soon be forgotten. Highly recommended.

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The Road to Hong Kong (1962)

THE ROAD TO HONG KONG (1962)
Article 3048 by Dave Sindelar
Viewing Date: 9-11-2009
Posting Date: 12-18-2009
Directed by Norman Panama
Featuring Bing Crosby, Bob Hope, Joan Collins
Country: UK
What it is: Hope/Crosby Road film, final installment

Two entertainers find themselves the target of a secret criminal organization when one of them memorizes a secret rocket fuel formula.

This was the final Hope/Crosby Road movie, and though the movie isn’t bad, one can see why the series was retired; despite the more modern touches (a science fiction/spy plot in particular), one can sense that this type of amiable comedy had run its course. The self-referential humor is a bit clumsy here, especially with the constant references to early Road movies, and the movie spends a surprising amount of time sticking to the plot, something the other Road movies wouldn’t dream of doing. Hope and Crosby are both beginning to show their age, and though Joan Collins has a certain appeal, I’d rather have seen more of Dorothy Lamour (who doesn’t end up in a sarong in this one, though a couple do pop up). Still, stray jokes work quite well, and Peter Sellers steals the movie in his scenes as a crazed neurologist. This is also the Road movie with the most prominent fantastic content, with two trips into outer space and a running joke about special effects adding to the fun. And even if it is the weakest of the Road movies, it’s also possibly Bob Hope’s best movie from the sixties, which is another way of looking at it.

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Murderers’ Row (1966)

MURDERERS’ ROW (1966)
Article 3047 by Dave Sindelar
Viewing Date: 9-11-2009
Posting Date: 12-17-2009
Directed by Henry Levin
Featuring Dean Martin, Ann-Margret, Karl Malden
Country: USA
What it is: Faux James Bond, Matt Helm style

Matt Helm must locate a scientist who has the secret to a powerful death ray… before he falls into the wrong hands.

Watching this movie so soon after having seen a Disney shopping cart movie gave me an interesting perspective on it. It occurred to me that, despite the endless drinking, pulchritude and double entendres that populate this movie, it felt like it exuded the same sense of innocence as the Disney comedies. The key here is in the double entendres; they’re handled with such a light touch that the movie has the air of a good-natured wink (unlike THE AMBUSHERS, where the same elements were handled so crassly that they came across like a smarmy smirk). This sense of innocent fun is what set the Matt Helm movies apart from the James Bond films, which they otherwise emulate. Unfortunately, as the movie goes along, it moves away from the humor and starts emphasizing the action, and when it does this, you’re fully aware you’re watching a second-rate James Bond imitation, and the lethargic pacing (which infects the whole movie) becomes especially noticeable. Still, it’s likable enough, with some great Ann-Margret dancing and some Crosby-Hope Road movie referential humor (in moments which involve Karl Malden, Frank Sinatra, and the group Dino, Desi & Billy). The ending, unfortunately, tries to get too much mileage out of a repeated running gag involving a time-delayed gun; it should have been used twice at best but it pops up repeatedly.

This leaves one more Matt Helm movie to go in the series.

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The Monkey’s Uncle (1965)

THE MONKEY’S UNCLE (1965)
Article 3046 by Dave Sindelar
Viewing Date: 9-9-2009
Posting Date: 12-16-2009
Directed by Robert Stevenson
Featuring Tommy Kirk, Annette Funicello, Leon Ames
Country: USA
What it is: Shopping Cart Movie

Merlin Jones’s experiments with monkeys are used to save the football team at Midvale college. In the first half, he must find a way to help the football players pass their English exams or else face expulsion. In the second half, he must prove that men can fly under their own power in order for the college to net a ten million dollar contribution that will trump a smaller one which requires the removal of the football program.

Feeling as they do like TV episodes strung together, the Merlin Jones movies come across as the chintziest of the Disney shopping cart movies. But even the Disney at its chintziest has its surprises; for one thing, that’s no anonymous rock group backing up Annette Funicello in the opening song, but the Beach Boys themselves. I also noticed that even though the movie consists of two separate stories, they don’t feel quite as disjointed as they might have, because there are enough similar themes between the two halves (the sleep learning, the theme of saving the football team, the monkey subplot) to make the movie feel more like a single entity. Granted, it’s still one of the weaker of Disney’s efforts, and it really suffers by comparison to some of Disney’s other efforts of the era. All in all, it’s likable enough, but extremely minor.

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