Tag Archives: john carradine

Retrospective: The Nesting (1981)

30 Friday Apr 2021

Posted by in retrospective

≈ Leave a comment

Tags

, , , , ,

While 1981 proved to be a huge year in the name of horror, projecting some classic or cult films in the genre, The Nesting had not even clipped this reviewers radar.
You could argue that a prime reason for this was down to it being quickly shafted into the video nasties category in the UK upon its release, subjecting the film into obscurity.
However, I found upon watching the film which is currently available on Tubi, that obscure depiction may be a correct label to have been assigned to it. Not because of its graphic nature, but more for the curious tale that is told by writer/director Armand Weston.
The story centres on Lauren Cochran (Robin Groves), a novelist who suffers from agoraphobia. So, on the advice from her doctor, moves to the country and rents out an old mansion, which she is strangely drawn towards, in the hopes that it will overcome her ailment.
The oddity doesn’t reside there however, as a series of bizarre events occur once Lauren arrives, including the encounter she has with the mansion’s owner, Colonel Lebrun (John Carradine – House of Frankenstein) suffers a stroke the moment he lies eyes on her.

Compounding her troubles further, Lauren starts to experience some deeply unsettling dreams of women lounging around the house. It is when one of these women appears to her during the day, that Lauren’s world starts spiralling, throwing her into confusion over what is real or not. Is she losing her mind or is there more to her visions than they seem?

Not content on resting on her laurels, Lauren turns sleuth to uncover the secrets of the mansion, butin doing so, starts to unearth some unsavoury characters, and may send her over the brink of sanity.

The problem I have with The Nesting is that it struggles to be a certain kind of movie but it struggles under the weight of its premise. Agorophobia is a ripe subject that has potential to inflict a deep horror, drawn from the troubles that the human mind can produce. It’s a subject that has been done before and since, Repulsion and Copycat to name but a few.

It’s a muddled script that gets too clouded and surreal to follow, and with some tighter direction, could have been a better film. As such, it may continue to wallow in anonymity as a result.

  • Saul Muerte

Retrospective: The Mummy’s Ghost (1944)

07 Sunday Feb 2021

Posted by in Movie review, retrospective

≈ Leave a comment

Tags

, , , , ,

The Mummy’s Ghost would be the second of three sequels to Universal’s The Mummy, following The Mummy’s Tomb and would also see Lon Chaney Jr step into the shuffling bandaged corpse of Kharis.

Unfortunately The Mummy’s Ghost is by far the weakest of the franchise so far, which for me comes down to lazy writing. It feels as though the creative department were happy to rest on their laurels and aim for more of the same in the franchise.

In doing so, it fails to stimulate and to say that it runs through the numbers in the process would be a misjudgement, as there are a lot of numbers that Universal are happy to skip past to deliver the basics in horror for the time of its initial release. 

Once again we are greeted with a high priest handing down the duties to a younger member of the fold, Yousef Bey played by a suitably hammy John Carradine (House of Dracula). Kharis is still transfixed by the lure of tana leaves and tramps around for his latest fix while Bey tries to stick to his mission in finding the body of Ananka and return her to her resting place in Egypt.

Ananka however has transformed her soul into the body of another, Amina (Ramsay Ames), which puts a spanner in the works.

Time has not been kind in the passing years, and this feature feels stale as a result and if it weren’t part of a franchise would have been served better entombed in the past.

It’s one saving grace that allows it to stand out happens to be shrouded in its bitter end, with Kharis carrying an unconscious Amina into the swamp, where they can be reunited in the afterlife. This is delightfully offbeat considering its age, and I can only wonder how this came across to the audience of the time. It may have had a more profound impact if more care and dedication were taken into building up a more imaginative narrative to steer away from the now tired formula.

  • Saul Muerte

Retrospective: House of Dracula (1945)

07 Monday Dec 2020

Posted by in retrospective, Universal Horror

≈ 2 Comments

Tags

, , , , , , , , , ,

Celebrating its 75th anniversary this year is Universal’s second Monster mash up, House of Dracula, and being one of the last movies to feature these iconic creatures also indicated that the times were changing and a new shift in horror was about to occur.

Treated as a direct sequel to House of Frankenstein, this feature would once again Count Dracula, The Wolf Man, Frankenstein’s Monster, and a mad scientist together.

This time though, it is the Count (once again played by John Carradine) that seeks a cure for his vampirism. Although there are questions around the legitimacy of his intentions as he seems to still go about his day (or should I say night?) without a care. This in complete contrast to the doomed and tragic figure, Larry Talbot (Lon Chaney Jr reprising his role once more). Dracula approaches Dr. Edelmann (Onslow Stevens) to aid him in his quest for a cure, who believes he can do so using a mysterious plant that can reshape bone. It is Dr. Edelman’s belief that using a series of blood transfusions, he can assist Dracula.

It is at this point that Larry Talbot enters the scene, also hoping that the Doctor can help him. Dr. Edelmann however is too consumed with the Count and so Talbot gets himself incarcerated by the police for fear that he will turn into a wolf and kill again. Whilst imprisoned, Inspector Holtz (Lionel Atwill in one of his last film roles) and Dr. Edelmann witnesses the transformation, with the latter now convinced, and promises he will try to find a cure.

Larry Talbot continues to be one of the most fascinating characters in the Universal Monster franchise, with his inner conflict and turmoil, the characteristics that Chaney Jr played so well. Here Talbot is driven to suicide, throwing himself off the cliff into the waters below, only to survive the ordeal. Dr. Edelmann finds Talbot in the caves beneath the castle and in doing so stumbles across Frankenstein’s monster (Glenn Strange) still clutching the skeletal remains of Dr. Neimann from the previous movie. Edelmann takes the monster back to his castle but swears not to revive him for fear that it will only cause ruin.

Through all these distractions, the Count has been using his charms on the Doctor’s assistant Milizia (Martha O’Driscoll) but is prevented by the good old cross. The Doctor’s other assistant, Nina, (Jane Adams) a hunchback, witnesses the Count’s attempts and notices the absence of his reflection. Time for another blood transfusion, only Dracula turns the tables, hypnotising Nina and Edelman and then reversing the transfusion, so that Edelmann is given the vampiric blood. 

This action proves to be the Count’s downfall however as Edelmann exposes Dracula’s coffin to sunlight, killing him. This is just beyond the half an hour mark leaving the question again as to the true danger that Dracula exhibits when he doesn’t last the entire feature.

With the Wolf Man being treated and the Dracula out for the… count (ahem), this leaves a hole for a villain to fill. In steps a transformed Edelmann, struggling with the vampiric blood in his system that sends him crazy and a climax that brings about the rise of Frankenstein’s creature, a horde of angry villagers, and only a cured Talbot to bring down the house.

House of Dracula serves up a much neater storyline compared with its predecessor, House of Frankenstein, and the performances are strong. It still struggles to incorporate all the different aspects, but considering it’s short running time of just over the hour mark, there’s enough packed in to entertain, and ultimately became a commercial success as a result.

  • Saul Muerte

Retrospective: The House of Frankenstein (1944)

04 Friday Dec 2020

Posted by in Movie review, retrospective, Universal Horror

≈ 2 Comments

Tags

, , , , , , , , , ,

Some thirteen years after the release of Dracula back in 1931, Universal now had a decent backlog of Universal Monsters in their midst.
After the relative success of Frankenstein vs The Wolf Man, which pitted two of their creatures head to head in its climax, it was a logical step to combine as many as possible into the one film. 

In order for this trick to be pulled off successfully however, requires some clever plot devices to wrangle each intricate characteristic into a believable situation. Curt Siodmak was called upon to carry out this difficult task, which seems a logical choice as he had overseen a lot of the Universal horror movies during the time. His decision was to introduce a new character in Dr. Gustav Niemann, a mad scientist played by Boris Karloff in what would be his last role in the Universal horror franchise. Accompanying him from a prison break is hunchback (another trope), Daniel (J. Carrol Naish), who is willing to carry out Niemann’s demands with the promise of a new body. 

Niemann though only has revenge in mind for the three people who wronged him and sent him to prison. 

This story is really told in two parts; the first part being the revenge on Burgemeister Hussman, which Niemann does by initially killing Professor Lampini and taking on his identity as a travelling showman and his Chamber of Horrors. The show in question just so happens to contain the skeletal remains of Count Dracula with the stake still impaled. Legend has it that if the stake were to be removed, Dracula would once again walk the earth. Naturally this happens, but Niemann convinces the Count (John Carradine) to carry out his task of ridding him of his nemesis with the promise of protection. Once the Count offs Hussman though, the group land in a spot of bother and Niemann quickly reneges on his agreement and ditches Dracula’s coffin, forcing him to submit to the sunlight and ultimately be destroyed. Dracula’s demise seems all too easy and as such renders him slightly useless in the movie and far from menacing.

The latter half of the movie focuses on the resurrection of Frankenstein’s monster (Glenn Strange) and The Wolf Man (Lon Chaney Jr.) who were last seen washed away with the flood that submerged the ruins of Frankenstein’s castle. It turns out that they had been frozen in ice, and Niemann thaws them both, once again hoping to use them to his advantage. 

The film is aided by the return of Chaney Jr and the troubled Larry Talbot who continuously serves as the heart of the franchise. Here, a love triangle is formed as he finds himself falling for a gypsy girl Ilonka (Elena Verdugo – who was a descendant of the Verdugo family that founded Los Angeles), rescued by Daniel and Niemann. The former has also fallen for Ilonka’s charms and is then driven by jealousy when his love is not reciprocated, and also by anger from Niemann’s failure not to live up to his promise.

The climax is nicely tied up with a collision of personalities all vying for different means, and when that clash comes it can only lead to the demise of all, be it silver bullet, thrown from the roof, or driven into the swamp quicksand from angry villagers wielding flaming torches.

On face value, Siodmak ticks all the boxes of what can be expected from each of the characters but ultimately, there is nothing new to offer at hand, and because of this the film falls short on satisfaction. It is still a solid production, entertains, but never does enough to lift itself above the standards of its predecessors.

It was great to see Karloff (he definitely owns this movie and deserves to wield the lead antagonist mantle) and Lon Chaney Jr share screen time together, but the chance to have the creatures provide any form of menace are  squandered. 

  • Saul Muerte

Retrospective: Captive Wild Woman (1943)

27 Friday Nov 2020

Posted by in retrospective, Universal Horror

≈ 1 Comment

Tags

, , , , , ,

No doubt when Universal were bandying around the idea behind Captive Wild Woman, they thought they potentially had another horror film franchise on their hands in the tale of an Ape Woman with humanistic tendencies.
The result however, was received with mixed feelings, in part due to its abomination of religious doctrination that caused one of several changes to the script, which would ultimately take around two years before it was greenlit.
By this time the kernel of the story had undergone a transformation not unlike its subject that morphed into a hybrid version of the original concept. 

The story gathered together a collection of characters, starting with animal trainer Fred Mason (Milburn Stone) who returns from safari with a series of animals to be used in the Whipple Circus. Chief among these is Cheela, the afore-mentioned gorilla, played by stuntman Ray ‘Crash’ Corrigan.

Accompanying Mason is his fiance Beth (Evelyn Ankers, now establishing herself as a stable actor for the studio following The Wolf Man and The Ghost of Frankenstein) whose sister, Dorothy (Martha MacVicar) is suffering from undisclosed health problems. In steps our antagonist and a dialled down John Carradine (The Invisible Man’s Revenge) as Dr Walters.

Walters is your typical mad scientist villain, a carbon copy of Dr Frankenstein with his malicious  pursuit of science at the cost of all those around him. In this instance Walters is hellbent in transforming the gene pull to change a living creature such as the gorilla into human form. He succeeds in doing so but like Frankenstein realises that in order to be truly successful, he must use a human brain and here his bloody pursuit amplifies starting with his assistant, but when this takes a turn for the worse, he sets his sights on Beth.

The human form of Cheela would be played by the exotic Acquanetta, who was a self-proclaimed Native American and would go on to reprise her role in the sequel Jungle Woman. Cheela has a hidden power over creatures which plays well at the circus and she becomes part of the act. She also has a fond connection with Mason and becomes incredibly jealous of his fiance Beth. This puts Beth against two adversaries and the rest of the tale leads to whether or not she will survive.

The film feels a little stale in places as we struggle with the plentiful shots of Mason in the ring taming the wild cats. It does help to have Carradine’s manic performance to keep the audience interested in the outcome, but it does limp along in the process. The surprise is that it generated not only one but two sequels… but more on those at another time.

  • Saul Muerte

Retrospective: The Invisible Man’s Revenge

25 Thursday Jun 2020

Posted by in Movie review, retrospective, Universal Horror

≈ Leave a comment

Tags

, , ,

Rounding out the quartet of Universal’s Invisible Man movies throughout the 1940s, The Invisible Man’s Revenge was a return to ‘form’-ula…in a good way.
Also returning to the series was Jon Hall, but he would not be reprising the role of Frank Griffin Jr.
Instead he would be playing Frank’s twin brother Robert Griffin, a man who escapes from a mental institution that he was incarcerated in after killing two orderlies.
Talk about polar opposites and proof of the flexibility to Hall’s work as an actor, although oddly Robert has no knowledge of the invisibility formula of his brother or grandfather for that matter. 

Once he is free, Robert seeks vengeance on the Herrick family who found their fortune from diamond fields that he helped to discover.
The Herrick family propose a share in the estate as a means to appease Robert, but he pushes things further, demanding to marry their daughter, Julie.
Their response? Drug him and get him out of their way.
This only angers Robert further and he plots his revenge.
In steps Dr. Peter Drury (John Carradine) who happens to be working on the formula for invisibility and with it, Robert’s key to claiming what he believes is owed to him.

The plotline is a little more convoluted than previous instalments and while it does some time before the cloak and dagger of invisibility lays the scene, the direction and delivery are more impactful due to the care and dedication devoted to character development.
Robert Griffin’s descent into madness and retribution is amplified by the back story delivered and Jon Hall’s depiction.
Likewise the supporting cast are on point, notably from Carradine and Gale Sondergaard as a cold-hearted Lady Irene Herrick.
Furthermore, the despair of Griffin’s fear of Brutus the dog, places a nice conclusion to the tale.
We are what we fear and if we place emphasis on those fears it will ultimately be our ruin.

The Invisible Man’s Revenge would mark the final time that the tale would be told with a dark edge with the next appearance coming in the Abbott and Costello movies.
It would be nearly 75 years before Universal would look into the black heart of the Griffin family with The Invisible Man starring Elizabeth Moss.

  • Saul Muerte