What a night this would’ve been.
Category Archives: 1959
I’ve been really impressed with Mill Creek’s Hammer releases. They don’t have the extras we get from someone like Scream Factory, but they look good, they’re often in double bills or sets (with us DVD/Blu-Ray collectors, shelf space is always a concern), and the price is certainly right.
Mill Creek’s newest Hammer project is the 20-picture Hammer Films – The Ultimate Collection. It’s got some great stuff — some are repeats from previous MC releases, some not. It focuses on Hammer films that were distributed by Columbia in the States. Here’s the lineup:
The Revenge Of Frankenstein (1958)
The Snorkel (1958)
The Camp On Blood Island (1958)
Yesterday’s Enemy (1959)
The Two Faces Of Dr. Jekyll (1960)
Never Take Candy From A Stranger (1960)
The Stranglers Of Bombay (1960)
Cash On Demand (1961)
Scream Of Fear (1961)
Stop Me Before I Kill! (1961)
The Gorgon (1964)
Die! Die! My Darling (1965)
Creatures The World Forgot (1971)
I can’t wait to get my hands on this thing. These films are essential stuff. A few of these I haven’t seen in quite a while — and never on Blu-Ray. It’s coming in November.
Mill Creek’s been offering up some really good stuff lately, and this one’s gonna be terrific. Here’s a Blu-Ray twin bill of Toho pictures from director Ishirō Honda — The H Man (1958) and Battle In Outer Space (1959).
The H Man plays like a bit of a Japanese radioactive tiff on The Blob (1958), with some gangsters thrown in for good measure. Columbia cut some of the criminal element out for its US release, making it 8-9 minutes shorter than what Japanese audience saw. Still, it’s a cool movie.
Battle In Outer Space, aside from the English dubbing, Columbia left alone. It’s set in the future, 1965, with Earth being attacked by the planet Natal, which is causing natural disasters and other chaos from afar. Eventually, the UN battles it out with the saucer fleet from Natal. Toho’s special effects genius Eiji Tsuburaya had a real field day with this one.
Both pictures were in Eastmancolor and Tohoscope, and they should look great in high-definition. Coming in June. Boy, us grown-up monster kids are getting spoiled these days!
Directed by Roger Corman
Written by Charles B. Griffith
Cinematography: Jacques R. Marquette
Music by Fred Katz
Film Editor: Anthony Carras
Cast: Dick Miller (Walter Paisley), Barboura Morris (Carla), Antony Carbone (Leonard de Santis), Julian Burton (Maxwell H. Brock), Ed Nelson (Art Lacroix), John Brinkley (Will), John Herman Shaner (Oscar), Judy Bamber (Alice), Myrtle Vail (Mrs. Swickert), Bert Convy (Detective Lou Raby), Jhean Burton (Naolia)
This is the kind of blog, read by the kind of people, where A Bucket Of Blood (1959) doesn’t require a lot of set-up. It was written by Charles B. Griffith, directed by Roger Corman for AIP, shot in five days for $50,000 (on sets left over from Diary Of A High School Bride), with the great Dick Miller in the lead. The end result is wonderful.
So, 60 years later, we get A Bucket Of Blood on Blu-Ray from Olive Films, part of their Signature series, and it’s incredible. You probably never thought you’d see this movie look like this. I certainly didn’t.
Sure, it’s still a $50,000 movie about a guy that kills people to make statues. But now we get a chance to really appreciate all that’s going on. We see Corman showing some real confidence as a director, displaying some real chops here and there — and turning out one of the better Horror Comedies, a very-hard-to-pull-off sub-genre. Dick Miller makes Walter Paisley both a lovable chump and a creepy killer. And everyone seems to be in on the fun when it comes to showing us how pretentious, cynical and hypocritical the whole Beatnik scene could be. The dime-store set design is really effective and fun to study in high definition.
Olive Films has given A Bucket Of Blood the attention I think it deserves. We’ve seen it looking so bad for so long — from muddy 16mm dupes to crappy PD VHS tapes and DVDs, it’s a bit of a shock to see it so crisp and clean. I found myself pausing it repeatedly to study things.
Along with the movie looking like a million bucks, a big leap from its $50K origins, we get a bucket-load of terrific extras, most courtesy of Elijah Drenner, whose documentary That Guy Dick Miller is a treasure. Drenner provides a new interview with Corman, an audio commentary and a wonderful visit with Dick Miller and his wife Lanie. This package is a joy from one end to the other, and a great way to revisit an old favorite. Highly, highly recommended.
The great Fritz Lang returned to Germany to put together two adventure films — The Tiger Of Eschnapur and The Indian Tomb (both 1959), got special permission from the Maharana to shoot at Indian locations previously off-limits, and in the end, AIP edited them both down to a single 95-minute thing called Journey To The Lost City (1959) — and had censor trouble thanks to Debra Paget’s barely-there costumes. The original pictures, which were impossible to see for years, are unbelievably cool. (Keep in mind that if Fritz Lang made a movie out of the phone book, I’d be the first one in line.)
Film Movement Classics is bringing The Tiger Of Eschnapur and The Indian Tomb to Blu-Ray — with theatrical screenings at NYC’s Film Forum in late September 27. Highly, highly recommended.
By the way, the Warner Archive Blu-Ray of Lang’s Moonfleet (1955) is gorgeous.
Directed by Roger Corman
Written by Charles B. Griffith
Starring Dick Miller, Barboura Morris, Antony Carbone, Bert Convy, Julian Burton
Olive Films has announced their September release of their Signature Edition release of Roger Corman’s A Bucket Of Blood (1959).
Short in five days for something like $50,000, A Bucket Of Blood is an ink-black comedy starring Dick Miller as Walter Paisley. Paisley’s a bonehead who becomes a respected artist among all the hipsters with his piece “Dead Cat,” which happens to be, well, a dead cat. As his fame grows, so does his need for more art — and the bodies his creations require.
Olive is offering up a bucket-load of extras, beginning with a new 4K scan, a commentary, a few interviews, trailers and other goodies. This one’s essential, folks!
Directed by Irvin S. Yeaworth, Jr.
Starring Robert Lansing, Lee Meriwether, James Congdon, Robert Strauss, Edgar Stehli, Patty Duke
The people behind The Blob (1958), producer Jack H. Harris and director Irvin S. Yeaworth, Jr., put their Blob money into their next picture, 4D Man (1959). Yeaworth had a company that made 35mm religious films in Valley Forge, Pennsylvania. Those resources give this homegrown, independent picture a very distinctive, and somehow perfect, blend of grit and polish. The Blob was made the same way.
Robert Lansing has developed a way to pass through matter. The hitch is, every time he does it, he ages — a complication that has murderous results.
4D Man is a cool movie, plain and simple. I loved it as a kid. So I’m really stoked that Kino Lorber is bringing it to Blu-Ray this August. Highly recommended.
I’ve been making my way through the first glorious volume of this terrific series from Kit Parker and Mill Creek Entertainment, and now they’ve announced the third. There’s another great lineup on the way (no pun intended).
The Shadow On The Window (1956)
Directed by William Asher
Starring Phil Carey, Betty Garrett, John Barrymore, Jr., Jerry Mathers
Jerry Mathers goes into shock after seeing his mom hassled by a group of thugs, then helps his dad (Phil Carey) and the cops rescue her. The Beaver is really good in this.
The Long Haul (1957)
Directed by Ken Hughes
Starring Victor Mature, Diana Dors
A British noir picture with Mature all tangled up in the shifty trucking industry — and a hood’s girlfriend.
Pickup Alley (1957, UK Title: Interpol)
Directed by John Gilling
Starring Victor Mature, Anita Ekberg, Trevor Howard
Victor Mature and Anita Ekberg in a B&W Scope picture about dope smugglers — directed by the guy who did The Plague Of The Zombies (1966)! Where’s this movie been all my life?
The Tijuana Story (1957)
Directed by Leslie Kardos
Starring Rodolfo Acosta, James Darren, Jean Willes
Another lurid geography lesson from the great Sam Katzman. I love Rodolfo Acosta — his tiny part in One-Eyed Jacks includes one of the coolest single shots in all of Cinema, if you ask me (which you didn’t). Here, he’s got the lead!
She Played With Fire (1957, UK Title: Fortune Is A Woman)
Directed by Sidney Gilliat
Starring Jack Hawkins, ArleneDahl, DennisPrice, ChristopherLee
More UK noir, this one about a painting and insurance fraud.
The Lineup (1958)
Directed by Don Siegel
Starring Eli Wallach, Robert Keith, Warner Anderson, Richard Jaeckel
The TV series is turned into a typically tough and tight Don Siegel film. Siegel’s San Francisco movies (this and Dirty Harry) really get in the way of the city’s whole peace and love/hippie vibe. This time, it’s a town crawling with dope, crooks and killers. This set’s worth it for this one alone!
The Case Against Brooklyn (1958)
Directed by Paul Wendkos
Starring Darren McGavin, Maggie Hayes, Warren Stevens, Nestor Paiva, Brian G. Hutton
A documentary-style, true-story crooked cop picture starring Darren McGaven. Paul Wendkos also did The Legend Of Lizzie Borden (1975). Produced by Charles H. Schneer in-between Harryhausen movies. Oh, and Nestor Paiva’s in it.
The Crimson Kimono (1959)
Directed by Samuel Fuller
Starring James Shigeta, Glenn Corbett, Victoria Shaw
On the surface, it’s a detective story, but that’s never how a Fuller movie works, is it? Fuller understood that the best way to tackle an issue/message in a picture was to wrap it up in something else like a cop story or a Western. He also knew that if you stuck to B movies, the suits didn’t pay much attention and left you alone to do what you wanted. This one’s terrific.
Man On A String (1960)
Directed by Andre De Toth
Starring Ernest Borgnine, Kerwin Mathews, Alexander Scourby, Colleen Dewhurst, Glenn Corbett, Ted Knight, Seymour Cassel
Ernest Borgnine stars in this 1960 spy picture based on the life (and autobiography, Ten Years A Counterspy) of Boris Morros, a Russian-born musical director in Hollywood (John Ford’s Stagecoach, 1939) who was first a Russian spy, then a counterspy for the FBI. Andre de Toth focuses on the double-crosses that stack up like cordwood.
Produced, Directed & Photographed by Robert S. Baker & Monty Berman
Screenplay by Jimmy Sangster
Music by Stanley Black (UK); Jimmy McHugh & Pete Rugolo (US)
Film Editor: Peter Bezencenet
Cast: Lee Patterson (Sam Lowry), Eddie Byrne (Inspector O’Neill), Betty McDowall (Anne Ford), Ewen Solon (Sir David Rogers), John Le Mesurier (Dr. Tranter), George Rose (Clarke), Philip Leaver (Music Hall Manager), Barbara Burke (Kitty Knowles), Anne Sharp (Helen), Denis Shaw (Simes), Jack Allen (Assistant Commissioner Hodges), Jane Taylor (Hazel), Dorinda Stevens as (Margaret), Hal Osmond (Snakey), Paul Frees (narrator, US version)
I’m sure I’m not the only kid who caught Jack The Ripper (1959) on TV and has had a fascination with the murders ever since. Back then, researching a subject wasn’t as simple as typing a few words into Wikipedia, and I’ve got a stack of Ripper books to prove it.
Since Jack The Ripper was never caught, a book or movie or whatever can go wherever it wants, presenting its own theory of what happened — or just using the basic story as a springboard for a bit of violence and sex. This movie sticks to the usual path, and its “solution” is in line with some of the common theories from the “experts.” The Ripper scenes are very well done, and they do a pretty good job of concealing the fact that they walk along the same Whitechapel street set over and over again — the fog machine guy sure worked overtime.
My favorite Ripper picture is Murder By Decree (1978) and this one comes in second. Its Hammer-ish feel — courtesy of writer Jimmy Sangster and producers/directors Robert S. Baker and Monty Berman, who’d done Blood Of The Vampire the year before — suits the subject matter perfectly.
I’ve never seen Jack The Ripper look good, so I was really eager to see how the Severin Blu-Ray turned out, knowing they’d gone to great lengths to find some nice material to work with. And I was hoping to get a lesson in how the various versions of the picture came to be. And while this isn’t a shining example of everything a Blu-Ray can be, it does show what dedication and hard work can accomplish.
So here’s the back story. Joseph E. Levine made a fortune buying foreign films, sprucing them up for American release, and filling theaters through masterful advertising campaigns. Two of his biggest successes were the US versions of Godzilla, King Of The Monsters (1956) and Hercules (1958). Jack The Ripper was given the same treatment.
Wth the Severin Blu-Ray, you get the British cut of the picture, looking pretty good, but cropped to 1.33. Then there’s the US version in its proper aspect ratio, transferred from a vintage, well-used print found in the Library Of Congress. (Wow, Congress is good for something!) It’s got some lines and splices, and the color insert is there. (I actually like seeing an old movie look like it’s been run a few times — that’s how they usually looked when I first saw them.) In short, Severin did a very nice job with somewhat compromised material.
Of the two, I prefer the US one. The widescreen framing is a huge plus, it’s cool to hear Paul Frees over the Paramount logo, and the music is the score I know from the soundtrack LP.
There was a third version — a cut for the rest of Europe with some extra violence and a bit of nudity tossed in for good measure. Some of those scenes are included in the supplemental stuff. You also get a nice little documentary, the US trailer, an expert interview and a still gallery. A nice package.
But for me, however, the real treat is bringing this Ripper out of the fog after all these years. For that, I’m certainly grateful. Highly recommended.
Directed by Roy Del Ruth
Starring Beverly Garland, Bruce Bennett, Lon Chaney, George Macready, Richard Crane
Scream Factory has just announced a Blu-Ray release of The Alligator People (1959) from 20th Century-Fox and Robert Lippert’s Associated Producers, Inc.
This is one of those 50s monster movies that is 100% carried by its cast. Beverly Garland, one of my favorite actresses, is terrific here — as she always was in these things. This kind of hokum needs just the right touch to really work, and Bruce Bennett, Lon Chaney and George Macready are on hand to help pull the whole thing of. Garland’s new husband (Richard Crane) suddenly disappears during their honeymoon. It takes her a couple years, but she tracks him down to his family’s Southern estate, where a botched medical treatment has turned him into an alligator.
It’s clearly inspired by The Fly (1958), and it’s a load of fun. 20th Century-Fox proudly boasted that The Alligator People (and its co-feature The Return Of The Fly) were in CinemaScope, no longer releasing their black-and-white Scope pictures under the Regalscope banner. Scream Factory has done a great job with their old monster movies, and I can’t wait to see this in hi-def — backed by an alligator purse full of extras.