Old Dracula (1974)

aka Vampira
Article 3021 by Dave Sindelar
Viewing Date: 8-15-2009
Posting Date: 11-21-2009
Directed by Clive Donner
Featuring David Niven, Teresa Graves, Peter Bayliss
Country: UK

Dracula has begun allowing tours of his castle, which gives him a fresh supply of blood as well as the opportunity to find a rare blood type that will revive his wife, Vampira. He does find the right blood type, but when his wife is revived, she also turns black. He then goes to England to find the donor of the original blood in the hopes that he can change her back.

I was aware that the movie had undergone a title change from VAMPIRA to cash in on the success of YOUNG FRANKENSTEIN, so I didn’t go in expecting that this comedy was going to attempt to emulate that one in any way; I planned to review it on its own terms. Still it’s a fairly weak comedy. The cast is game enough; all three leads put their best feet forward to make a go of it, and each one adds a little flavor to the mix. What fails them is the script; despite a couple of cute ideas here and there, it’s painfully short on laughs, and the story gets less and less interesting as it goes on. It all builds up to a twist that is a) obvious once you see the setup, and b) awful when you see the final make-up job. I’d like to see some of these touches in a better movie; I like the idea that a vampire has varying amounts of control over his victims depending on how long he bites them, and that if he keeps the time short, the victim doesn’t become a vampire. I can’t really say I was disappointed by the movie, as it was actually a little better than I expected, which wasn’t much. Teresa Graves would go on to the role of Christie Love, and then left acting shortly afterward.


One Live Ghost (1936)

Article 2974 by Dave Sindelar
Viewing Date: 6-29-2009
Posting Date: 10-5-2009
Directed by Leslie Goodwins
Featuring Leon Errol, Lucille Ball, Vivien Oakland
Country: USA

When he is neglected and laughed at by his family, a man decides to fake his death and pretend to be his lawyer’s British butler to find out if his family really appreciates him.

It’s nice every once in a while to go back and watch an old short for this series of reviews. The fantastic content doesn’t come into play until the last third of the short in which he decides to impersonate his own ghost. The short was a vehicle for comic actor Leon Errol, but audiences nowadays will probably be more interested in seeing Lucille Ball in an early role. She does well as the family’s maid, though she really isn’t given that much to do. All in all, it’s mildly amusing if minor.

Our Man in Casablanca (1966)

aka Neustro agente en Casablanca, The Killer Lacks a Name
Article 2940 by Dave Sindelar
Viewing Date: 5-26-2009
Posting Date: 9-1-2009
Directed by Tulio Demicheli
Featuring Lang Jeffries, Olga Omar, Isabella Biancini
Country: Spain / Italy

A dossier capable of blackmailing the leader of a country friendly to the U.S. disappears, and an American agent is sent out to find its whereabouts before it ends up in the hands of enemies.

This Italian James Bond clone sat on my hunt list for quite a while, and I fully suspected that if it ever did show up, it would be in undubbed, unsubtitled Italian. I was quite delighted to find a copy that was not only dubbed into English, but letterboxed as well; it’s subtitled, too, but in Dutch. Furthermore, I found it more entertaining than the usual Spyghetti movie (as I’ve come to call them). It’s main plus is that it has a particularly memorable villain; he’s a killer with a mechanical hand capable of killing people with electrocution, a story element that also adds some science fiction content to make the movie qualify for this series. As usual, the movie is fairly confusing during the first half, but it works itself up to some fun story twists and double-crosses before it’s all through. All in all, I found this one acceptably entertaining.

The Oldest Profession (1967)

aka e Plus vieux metier du monde
Article 2868 by Dave Sindelar
Viewing Date: 3-15-2009
Posting Date: 6-20-2009
Directed by Claude Autant-Lara, Mauro Bolognini, Philippe de Broca, Jean-Luc Godard, Franco Indovina, Michael Pfleghar
Featuring Michele Mercier, Enrico Maria Salemo, Gabriele Tinti
Country: France / West Germany / Italy

The history of prostitution is presented in six tales.

You know, it takes time to watch a movie. And when you watch a movie a day and you find the print of the movie you were watching has a fatal flaw, you don’t often have time to watch another movie. That’s my excuse for covering this one, despite the fact that my print is missing one whole episode. That might not have been fatal in a movie in which only certain segments contain fantastic content if the missing segment had been one lacking said content, but alas, I’m missing the one segment that takes place in the future directed by Jean-Luc Godard, reportedly the best one of the bunch. But I’m in no mood to watch another whole movie, so I’m reviewing it as is, with the addendum that I’m going to hunt for a more complete copy, and should I find one before I post this review, I’ll add the review of that segment as an addendum.

So what can I say about this episodic comedy about prostitution? It’s mostly lame. The prehistoric section (which has no prehistoric creatures and nothing to recommend it), the Roman section, and the one in Modern-day Paris are all forgettable and of little importance. The other two sections (one in revolutionary France and the other during the Gay Nineties) come off better and actually do a good job of giving us similar but opposite stories; in the first, a customer pulls a trick on a prostitute to keep from paying, and in the other, the prostitute tricks a customer (who she discovers is a banker) into marrying her. These two are good, but not great. Still, it’s the Godard piece that is supposed to be the highlight here. Let’s hope I have an addendum to add to this in the near future.

ADDENDUM – Well, I found a copy with Godard section, and it is easily the best of the bunch. It’s the one that shows the most creativity, and its view of the future is somewhat similar to the one in ALPHAVILLE. It mainly involves a time when visitors supply robot prostitutes for its guests, but a man wants a replacement because his can’t talk, but he finds that robots are a bit specialized, and the one that can talk isn’t able to… well, I won’t give anything away on this point. The weirdest touch has people eating from aerosol cans (there goes the ozone layer), and the big question I have is this: why is the character who is supposed to be human the one who most talks like a robot? It’s a good segment, but not great, and overall, the movie is on the weak side.

Onibaba (1964)

ONIBABA (1964)
Article 2853 by Dave Sindelar
Viewing Date: 2-28-2009
Posting Date: 6-5-2009
Directed by Kaneto Shindo
Featuring Nobuko Otowa, Jitsuko Yoshimura, Kei Sato
Country: Japan

An old woman and her daughter-in-law survive during the wars by killing stray samurai warriors, disposing of their bodies in a hole, and selling their equipment for food. When her daughter-in-law discovers that her husband has died in the wars, she falls in love with the local man who brought the news who has returned from the wars and is now hiding to avoid being sent back to fight. The old woman hatches a scheme to keep her daughter-in-law from being taken from her by using a demon mask taken from one of the warriors.

If the fantastic content in this movie were boiled down to its essence, it could have made a nifty “Twilight Zone” episode. When I make a comment like this, it’s usually my way of saying that a movie has stretched its content too thin, but that is not the case here at all. In this one, the story is effectively fleshed out, and even though the masked samurai does not appear until about two-thirds of the way through the movie, we are given plenty of meat to chew on before then. It’s an exploration of war and its effects, and how an extreme situation can nullify normal morality; though the murder and robbery of lost samurais may seem like an awful way to make a living, if one looks at the actions in the context of the situation (a seemingly unending war that has depopulated the land and depleted food supplies for all), one would be hard pressed to find another way for these characters to survive. One is left wondering at one point a character makes the transition from being a human being to becoming a demon, and the question as to whether the old woman has actually made that transition is a fascinating one; it’s significant that the last line of the movie is her claiming that she’s a human being. Even though the fantastic content that makes this a horror movie doesn’t manifest itself until well into the movie, the movie has built up a great amount of dread already by that time; all the action takes place in a field of reeds that towers over the heads of the human occupants, and one can easily feel the fear of never knowing how close one’s enemies are while still being unseen by you. This is also one of the first Japanese movies to feature nudity and sex, and there’s quite a bit here. This one is highly recommended.

An Over-Incubated Baby (1901)

Article 2830 by Dave Sindelar
Viewing Date: 2-5-2009
Posting Date: 5-13-2009
Directed by Walter R. Booth
Cast unknown
Country: UK

A woman leaves her baby at a new-fangled baby incubator designed to make him grow one year in one hour. However, a clumsy assistant overheats the incubator, and…

It’s a one-joke early trick short. You’ll probably guess half of what happens. As for the other half… well, let’s just say that in some ways, the baby doesn’t grow. And there’s a reason this movie is a short.

The Omega Man (1971)

Article 2747 by Dave Sindelar
Viewing Date: 11-13-2008
Posting Date: 2-19-2009
Directed by Boris Sagal
Featuring Charlton Heston, Anthony Zerbe, Rosalind Cash
Country: USA

The sole survivor of a world-decimating plague finds himself in a one-man war against a gang of surviving mutants bent on his destruction. However, his life changes when he discovers he may not be the only survivor…

This is the third version of Richard Matheson’s novel “I Am Legend”; there appears to be a Spanish short version made a few years earlier which I’ve not seen. I’ve also not seen the recent Will Smith remake, so all I’ve got to compare it with is the Vincent Price version called THE LAST MAN ON EARTH from the early sixties. This one is certainly better made, and was a great deal more popular. I myself quite like some parts of this one; I was always charmed by the scene where Charlton Heston’s character goes to a movie theater to see WOODSTOCK, a movie he’s seen so many times he can mouth the words. I’ve also never forgotten the climax of the movie in the fountain outside of the mansion. Still, taken as a whole, I prefer the earlier version; there’s something about the weariness and stark bleakness of the earlier movie that fires my imagination more than the standard action setpieces that drive this one. This is not to say that this is a bad movie; it’s quite entertaining in its way, though it does get a little slow at times. It just doesn’t have the same impact on me, especially in the closing scenes. On a side note, I wish I had known that craggy-faced John Dierkes was one of the members of the Family in this movie; I would have kept my eyes open for him.