TEENAGE ZOMBIES (1959)

We meet cleancut teenagers Reggie and Julie at the Campus House soda shop, meeting their friends Skip and Pam to go water skiing at a nearby lake. Reggie makes plans to pick up their friends Morrie and Dot at a horse ranch when they get back. Skip tells Reggie about the existence of an island several miles out, and when they get there, they think the beach would make a great spot for summer partying. Soon they see disheveled laborers (who look "doped or dead or something" according to Reggie) led by a sexy lady in an evening gown and cape. When they try to leave the island, they discover their boat is missing. The boys seek help at the only house they can find; the gowned lady, a Dr. Myra, invites them in but insists she knows nothing about the boat. She takes them to a basement laboratory where Ivan, a hulking zombie assistant, has Julie and Pam in cages. He tosses the boys in as well, and when Reggie asks, "What kind of creep joint is this?" she replies, "A place where science is free from the interference of stupid politicians!" Myra is working with two agents to develop a gas that, when dropped from the air, will paralyze the will of people and turn them into mindless zombies. Their bosses ("from the East") are pressuring Myra to deliver the gas now even though she hasn't worked out all the kinks, so she plans on making the teenagers her next and final subjects. Meanwhile, Morrie and Dot, concerned that their friends never showed up, come to the island looking for them. A run-in with Myra convinces them that all is not well and back on the mainland, they get the sheriff to go with them to the island. But the sheriff is actually in cahoots with Myra; he has been providing her with drunks and lawbreakers for her experiments. Now it's six teenagers versus four adults and some zombies (and, oh yeah, a completely ineffective gorilla). The bad guys don't have a chance.

Critics really hate this movie, and with good reason. The director is Jerry Warren, renowned for his amateurish B-films; it's cheaply made with sets that are just a notch above Ed Wood sets; the 70 minute movie is padded out with long scenes of the teenagers walking from place to place; the final fisticuffs scene is people rolling around on the floor waiting for the director to explain his vision; the adult actors, especially Katherine Victor as Myra, are terrible; despite the title, there are no teenage zombies (though Julie and Pam are briefly stupefied by the gas), nor are there many teenagers—the "teen" actors whose birth dates could be verified are all between 25 and 30, and only Morrie (Jay Hawk) looks like he might be a teen. Actually, there are damn few zombies of any kind; aside from the string of laborers we see near the beginning, creepiness is supplied only by the mute and scruffy Ivan (Chuck Niles, a jazz DJ in real life). But I sat through this movie and must take my pleasures where I can get them, with the six teenagers. They are all attractive and are more adept at dialogue than most of the adults. Don Sullivan (Reggie) had a short career in the late 50s in B-films (see THE GIANT GILA MONSTER) and TV, and he and Paul Pepper (Skip) are believable protagonists. The other teens (Jay Hawk, Mitzi Albertson, Brianne Murphy and Nan Green) hold their own. Katherine Victor's bland performance as Myra sinks any possibility this movie had for being a camp classic; an over-the-top performance in the main villain role would have been welcome, though Victor does get to wear, by my count, three different evening gowns (sometimes with a lab coat), doing none of them justice. Whatever you do, don't pay to watch this, but as a YouTube algorithm discovery, this was bearable. There is conflicting information about the movie's date. It was made in 1957 and got a general release in 1960, but played some theaters in 1959. Pictured are Sullivan, Pepper, and Victor. [YouTube]

TALES FROM THE CRYPT (1972)

While taking a tour of old catacombs, five people get separated from the group and wind up in a room with a robed and hooded man seated on a stone throne in front of a rock background sculpted like a skull face. This man, the crypt keeper, tells them, one by one, stories that they think will predict their future. 1) On Christmas Eve, while her little restless daughter waits in bed for Santa Claus to arrive, Joan Collins kills her husband, drags his body out of the living room, and cleans (astonishingly well) the bloody white carpet where she attacked him. Meanwhile, the radio reports that a murderous lunatic dressed in a Santa suit has escaped a nearby asylum. Of course, he shows up at her door (pictured at left). 2) Ian Hendry has run away from his wife with his mistress (Angela Grant), but their car goes off the road during a storm and catches fire in a ravine. Hendry comes to, having been thrown from the car, doesn’t see Grant, and leaves the scene. As he makes his way home, every person he has contact with looks at him and screams. Finally finding Grant alive and at her home (which was supposed to be their new home), he discovers that more than a year has passed since the accident, and also discovers why he is eliciting shrieks of horror from all who see him. 3) Upper-crust Robin Phillips is upset that his elderly neighbor's (Peter Cushing) house is in disrepair and his antics while entertaining neighborhood children are bothersome. Phillips gets Cushing's beloved but noisy dogs confiscated, spreads rumors that Cushing is a child molester, and on Valentine's Day, sends him dozens of cruel valentines supposedly from the neighbors. Cushing kills himself. A year later, Cushing climbs out of his grave and visits Phillips, and pulls his own bloody Valentine's Day prank.

4) Richard Greene tells his wife (Barbara Murray) that his business dealings have gone sour and he has to sell off his art collection. But when Murray runs across an ancient Chinese statuette that promises the owner three wishes, she wishes for money. She gets her wish, but only because her husband is killed in a car accident and she inherits his insurance. Her lawyer (Roy Dotrice) points out the similarity of her situation to the one in the famous tale The Monkey's Paw but she ignores him and wishes for Greene to be returned as he was just before the accident. She comes to regret her wish as well as the one she tries to use to set things right. 5) Nigel Patrick, a former army officer, takes over the running of a home for the blind, bringing his faithful German Shepherd with him. Patrick runs the place with a tight fist, cutting back on food, heat, and blankets to save money. After trying to talk Patrick into changing his ways, Patrick Magee, one of the patients, leads the rest in a plot for revenge in which the dog plays a big part. Finally, the five listeners realize that, rather than the future, the Crypt Keeper has told them their recent pasts before they are sent through a passageway leading to Hell.

In the early 1950s, EC Comics published a popular line of horror comic books with titles like Tales from the Crypt, Vault of Horror, and Weird Fantasy. The stories, like similar stories that Rod Serling wrote a few years later for The Twilight Zone, were usually ironic tales of revenge, with gory details in the artwork, and often a darkly humorous twist. As they appealed to children, censorship problems broke out and EC quit publishing the line in 1955. Since then, they have reprinted often, and a TV series, Tales of the Crypt, had a long run on HBO. This British anthology film from Amicus dramatized five EC stories, two of which I have vivid memories of from paperback reprints in the 60s: "And All Through the House," the Christmas story, and "Wish You Were Here," the Monkey’s Paw adaptation,  both of which had particularly disturbing final panels. This movie has a PG rating, so the visuals are not as explicit as the comics were, but still there are a few nice horror jolts here along the way. The Santa story and the Valentine's story, are the best vignettes here, with the final story the weakest, partly because it's too long and partly because it strains credibility. The acting is adequate, with Ralph Richardson effortlessly taking the honors as the Crypt Keeper—he's never referred to by that name in the movie but in the comics, a different version of him narrates the stories—a role he apparently filmed in one day. Joan Collins and Peter Cushing are also good. Your reaction to Patrick Magee (pictured at right) will depend on your reaction to his over-the-top style, which I happen to like. The production values are not especially high but, like the acting, they're adequate. It’s been pointed out that not all the main characters deserve to be sent to Hell, but there’s no need to think about that too much. I reviewed the sequel, THE VAULT OF HORROR in 2023. [Streaming]

THE MUMMY AND THE CURSE OF THE JACKALS (1969/1986)

Amateur archeologist David Barrie lives in Las Vegas and keeps two coffins in his somewhat dilapidated house. They were being transported from Egypt when the plane they were on crashed and they wound up in Lake Mead from where David retrieved them. One, a glass coffin, contains the perfectly preserved body of a 4,000 year old princess named Akana; the other stores the mummified body of a fellow named Sirakh. Any classic-era Mummy movie fans will figure out quickly that there is a curse involved with these two, and that Sirakh is the guardian of Akana. Akana is set to wake up soon, and thoughtfully, her father gave her the gift of being able to know the language of whatever land she's in when she wakes up. At the full moon, anyone who is in the presence of the princess is cursed with turning into a were-jackal. David knows all this and, in the spirit of blasphemous fun, decides to spend the next full moon night in the coffin room. Surprise! He turns into a human jackal, then goes nuts, assaulting and killing some cops and winos on the streets of Vegas. The next day, Akana has come to life and we learn her mission is to spread the worship of the rightful Egyptian gods to the whole world. David, her new acolyte, teaches her how to put on a bra (!) and dresses her up to go out on the town with his friends. She also wears a snake ring with mildly hypnotic effects. But soon Sirakh, with one bulging eye, a pot belly, and oven mitts on his hands, awakens and goes on a bit of a rampage, winding up in a strip club and killing a dancer in an Egyptian headdress. In the end, a bit ramshackle because of the circumstances of filming (see below), Akana disintegrates as the mummy and the jackal fight in a lake.

This was apparently filmed in 1969, but funding dried up and the movie was never really finished. A feature length version of the footage was pieced together and released on home video in 1986 and has garnered a bit of a cult reputation since then. (There are unsubstantiated rumors that it played at a theater in LA in 1969, and I did find a newspaper press release from that year that mentions the movie has been finished.) The director, Oliver Drake, was mostly known as a writer, having worked on over a hundred screenplays and teleplays. It will not come as a surprise that he did uncredited work on Universal's THE MUMMY'S CURSE, which the plot of this film resembles a bit (not to mention that its Egyptian temptress is named Ananka). I'll try to ignore comparisons to the work of Ed Wood; instead, I’ll say this felt like chunks of a home movie that some enthusiastic amateurs who lived in Las Vegas were putting together. There are two professionals in the cast. Anthony Eisley, of whom I have fond memories from the 1960s TV show Hawaiian Eye, is David, and though he seems uncomfortable at times, he gives it his all. Old reliable John Carradine showed up for probably a day's worth of work and delivered a bunch of (mostly non-essential) backstory. Robert Alan Browne, as David's buddy Bob, had a decent career in small roles through the 1990s. Most of the rest of the cast didn't go on to other film roles. Marliza Pons (Akana) was a belly dancer in Vegas, and perhaps coached the dancing girl who gets attacked by the mummy. The production has the cheap and sleazy look of a Herschell Gordon Lewis movie like 2000 MANIACS. The mummy costume looks like it was slapped together in a hurry–when he shambles about the Vegas strip, onlookers are more amused than scared—and the were-jackal makeup is not terrible, even if it looks like a cross between a bear and a dog. Honestly, the best thing about this movie is the soundtrack, a mish-mash of jazz, lounge music, sci-fi sounds, organ funk, and rock. Bad movie fans will have fun with this as will fans of Eisley (there must be a few more out there like me!). Pictured at top is Pons; at right, Browne and Eisley. [Streaming]

DEVILS OF DARKNESS (1965)

In 1600s rural France, Count Sinistre was buried alive for his decadent behavior. Some time later (the timelines in this film are unclear), an acolyte in a red robe helps facilitate the resurrection of Sinistre as a vampire (again, how it's done is unclear). During a gypsy wedding in the woods, Tania and Bruno have a blood commingling ceremony during which a huge bat flies in and Tania falls dead. After her burial, Sinistre awakens her and claims her as his vampire bride. In the present day, a group of tourists are staying at an inn in Brittany. Paul, a writer, pals around with two spelunking lads (Dave and Keith) and their friend Anne (Keith's sister), and a visiting antiques dealer named Madeleine encourages them to witness a local All Souls' Day ritual. In the caves, they run across a stone coffin; Keith is left dead and Dave is never seen again. We see the mourning Anne meet up with the suave and caped Armond (actually Sinistre) as she walks by a lake, and soon she is found drowned in that lake. The official consensus is that the she committed suicide, but between noticing bite marks on Keith's neck and finding a silver bat-shaped talisman near the lake, Paul is suspicious. Back in London, Paul keeps up ties with Madeleine, who runs a hip antiques shop called the Odd Spot where she is inclined to throw decadent parties. Sinistre, as Armond, is also in London as an artist, with the gypsy girl Tania as his wife, and he wants his talisman back. Paul meets and is taken with the voluptuous Karen, an employee at the shop, and Sinistre decides to hold Karen as a hostage to get his talisman back. Oh yeah, Sinistre, in league with Madeleine, is the head of a Satanic cult who throw their own decadent parties, at one of which, held at a country estate, things come to a climax that ends in fire and destruction.

Many critics don’t like this B-film from Planet Productions because they assume it's trying to be Hammer lite (no gore or heaving bosoms). Well, it is and that's fine. I like that it has a Dennis Wheatley (THE DEVIL RIDES OUT) feel, as it throws vampires, Satanists, black magic and even voodoo into the mix. The film has a drab visual look except for the wild parties, and the acting is a bit all over the place. One of my B-movie favorites, William Sylvester (Paul), is maybe a bit too low-key for the proceedings, and Hubert Noel (Sinistre) is not terribly charismatic and rarely as threatening as he should be. But the women are fine (and sexy): Carole Gray as Tania, Tracy Reed as Karen, and Diana Decker as Madeleine. Eddie Byrne is a doctor, and the handsome Burnell Tucker appears briefly as Derek, another antiques shop employee who looks good in a devil worshipper robe. I don't think it’s ever made clear why Sinistre needs the talisman so badly—he says it protects the vampires though how is not explained—or even why Paul hangs onto it, just plot demands, I guess. The director, Lance Comfort, could turn out B-movies in his sleep, and it’s true that a Hammer director like Terence Fisher or Roy Ward Baker might have made this a better looking film with stronger atmosphere. For what it's worth, some claim that this was the first British vampire movie set in the modern day, Not top-rank horror, but worthy of at least one viewing. Pictured are Rona Anderson (Anne) and William Sylvester. [YouTube]

CURSE OF THE AZTEC MUMMY (1957) / THE ROBOT VS. THE AZTEC MUMMY (1958)

As you may remember from the first movie in the Aztec Mummy series (which I reviewed many years ago), Dr. Krupp is a criminal mastermind known as The Bat, and something of a Dr. Moreau type who did horrible experiments on animals. He was jailed after his attempt to steal an ancient Aztec breastplate and bracelet, discovered by Dr. Almada, which is thought to be the key to finding Aztec gold. CURSE OF THE AZTEC MUMMY begins as Krupp's gang helps him escape, and Almada and his girlfriend Flor fear he'll return for the breastplate. In a flashback sequence from the first film, we see how Almada had put Flor under hypnotic regression and discovered that she is the reincarnation of Aztec princess Xochi. Now the freed Krupp does indeed return to kidnap Flor. Krupp and his men will have to deal with Almada, his cowardly sidekick Pinacate, Almada’s young brother Bobby, and Popoca, the Aztec mummy whose job is to protect the breastplate. But this time, Krupp will have to face a new enemy, the masked wrestler called the Angel (pictured at right), whom Bobby can call on at a moment's notice. Near the climax, as Krupp tries to make Almada translate the markings on the breastplate, Krupp throws the Angel into a snake pit and the Angel has to call on Bobby to be saved. Eventually, the Angel is unmasked as Pinacate and the shambling mummy tosses Krupp into the snake pit and leaves with the breastplate and bracelet intact. Despite the title, the mummy does not play a big role in the proceedings. 

But wait, there’s more! THE ROBOT VS. THE AZTEC MUMMY begins with a statement that this film is based on fact (verified by testimony of a notary public!). Set years after the conclusion of CURSE, we get at least twenty minutes of flashbacks from the first and second movies to bring us up to date. By now, Almada and Flor are married and we learn that Krupp managed to escape the snake pit and has invented an atomic "human robot" that he plans to use to battle Popoca, the mummy, in order to get the breastplate. He has the typical mad scientist dreams of world domination with an army of these robots, put together like the Frankenstein monster with a human brain inside, and needs the riches of the hidden Aztec treasure to bankroll his plans. Flor is hypnotized to reveal the location of the breastplate, and Almada gets involved in the climactic battle between, yes, the Robot and the Aztec Mummy. Oddly, the sidekick Pinacate is back but he doesn't have a masked wrestler alter ego, or at least he doesn’t show it, and the flashback to the previous film doesn't depict him in his outfit. The final battle goes on for four minutes of not terribly thrilling action and this time, the mummy makes sure to kill Krupp.

Supposedly all three of these Aztec Mummy movies were filmed back to back, and, like The Empire Strikes Back, CURSE feels a bit like a placeholder between movie #1 and movie #3, even though it has more "new" action than the third movie. The inclusion of the flashbacks is annoyingly repetitious if you sit down and watch these films over a weekend, but they also allow a viewer who has allowed more time to pass between viewings to catch up. Your enjoyment of these films will depend on your tolerance for low-budget English-dubbed horror movies. I liked CURSE best, largely because of the weird and semi-kinky masked wrestler aspect—interestingly, the Angel is mostly ineffective until the end battle—though I must admit that the Robot is a pretty cool construction considering the genre. No one spends a lot of time critiquing the acting in these films, though I will say that Luis Aceves Castaneda is nicely hammy as Krupp. Ramon Gay and Rosita Arenas are fine as Almada and Flor. Crox Alvarado gets to shine in CURSE as the mild-mannered sidekick and the wrestling Angel. These are fun movies for a weekend matinee or a midnight showing with beer and popcorn, but I haven't decided yet if I'm going to give Wrestling Women Vs. the Aztec Mummy, related but without the same main characters, a shot. Pictured at left are Alvarado and Gay. [DVD]

VAMPIRE CIRCUS (1972)

Count Mitterhaus lives in a castle in the village of Stetl and is rumored to be a vampire, responsible for the disappearance of several young women of the village. Albert Mueller discovers that his wife Anna, under the count's power, has taken their daughter Jenny into the castle to serve as a blood sacrifice to Mitterhaus. He gathers several villagers together to attack the castle and manages to drive a stake into Mitterhaus, but with his dying breath, the count curses the village and sends Anna off to find his cousin Emil who is with the traveling Circus of Night. Fifteen years later, though the Count's castle has been destroyed, a plague has spread through Stetl, leading nearby villages to block their roads to stop its spread. When the Circus of Night comes to Stetl, the villagers embrace the gypsy troupe, with its dancers and acrobats, its animal performances and hall of mirrors, as a way to forget about the plague. We soon discover that evil lurks beneath the surface: a pair of acrobats seem to turn into bats high in the air, and the darkly handsome Emil, Mitterhaus' cousin, is a shapeshifter—he can turn into a panther—and a vampire. Emil and the circus members plan to resurrect Count Mitterhaus. While a town doctor heads out to get medicines for the plague, the circus folk begin terrorizing the village, mostly the children (some of whom disappear in the hall of mirrors) and the doctor's son Anton and his girlfriend Dora are left, with only crucifixes as weapons, to fight the vampire plague. 

This Hammer film is colorful, stylish, and a little sexy, and it's nice to see them leave the Dracula movie formula, which they used for years to the point of overkill, behind and try something a little different. The whole thing has a folklore feel to it, and the concept of the Circus of Night is intriguing, though it ends up not being exploited as much as it could be. Characterization is minimal; when we discover that a gypsy woman with the circus is Anna Mueller from the opening, there is no real impact. The atmospheric look of the movie is its biggest selling point, with the circus at times conjuring up Ray Bradbury’s sinister circus in his novel Something Wicked This Way Comes. Adrienne Corri, usually an asset in her movies, is mostly wasted here. John Moulder-Brown and Lynne Frederick are fairly bland as the young heroes Anton and Dora. Anthony Higgins (Emil) doesn't really have a lot of acting to do—he just has to look mysterious or menacing—but he certainly looks the part of a sexy and evil panther man. The animal transformations are a welcome addition to the Hammer template. Recommended. Pictured are Corri and Higgins. [Amazon Prime]

THE EVIL (1978)

Old handyman Sam is trying to clean up the Vargas house, a Civil War-era mansion that has been empty for years. He gets freaked out, first by all the cobwebs then by weird sounds that lead him to the basement where a fireball shoots out of the furnace and burns him to death. Next, the house's new owners show up: a psychiatrist (Richard Crenna, at left), his wife (Joanna Pettet), and a teacher (Andrew Prine) who are planning to open a drug rehab center in the house. They've brought a group of students and former rehab patients to help out and they're all pretty gung ho about pitching in to work, but odd things begin happening right away: Pettet sees a demonic statue turn its head to face her, and a dog that belongs to one of the students wanders down to the basement and goes nuts, attacking his owner (Cassie Yates) then disappearing into the bowels of the house. Crenna is a strict rationalist so he has problems when his wife, who is of a more spiritual bent, starts seeing blurry visions of a ghost that she soon figures out is the original owner, Vargas, trying to warn the group to leave the house. Unfortunately, Crenna, poking around in the basement, sees a trapdoor in the floor, held shut by a huge metal crucifix. He pulls the cross out and, literally as we will eventually discover, all hell breaks loose. The doors and windows slam shut on their own and the film becomes a haunted house slasher movie as one by one the mansion's inhabitants wind up attacked (one woman is sexually assaulted by an invisible presence), injured (Prine slices into his own hand with a circular saw) or electrocuted. In the end, Crenna and Pettet go through the trap door and discover the devil (Victor Buono, below right), something of a dandy decked out in white. Can the two manage to lock Satan back up with the crucifix?

This overlooked and underrated B-movie is one of the better haunted house films. It’s not quite in the same rank as The Uninvited, The Haunting (1963), or The Amityville Horror, but it certainly is as good as other second-rank films like Burnt Offerings or The Sentinel, and it's way way better than the awful Haunting remake from 1999. After a few introductory scenes, it all takes place in the house, a very effective setting which combines some gothic set design with large empty rooms which become quite scary. The first part is a bit of slow burn, but by the time of the dog attack, around the 22-minute mark, things pick up and never let go. The acting gets better as the story goes along, with everyone going balls-out in the last half. Crenna, Pettet and Prine are professionals who might feel like they're slumming but they try not to show it. George O'Hanlon Jr. is good as a cocky clowny fellow who provides a nice fake scare early on, and Lynne Moody is equally good as the woman who is assaulted. The director, Gus Trikonis, started out as a dancer, played one of the Sharks in West Side Story, was married for a few years to Goldie Hawn, and wound up in a long career directing B-movies and TV shows. He provides some nice stylistic touches here, mostly in the scenes of menace. 

Even critics who love this movie usually point to the ending as a major mistake. After spending the whole time in the dusty old mansion, Crenna and Pettet end up in a bright white room with the chortling and chubby Victor Buono as the devil. He looks nothing like any depiction of the devil that I've ever seen, though Mick Jagger's description of him as "a man of wealth and taste" in "Sympathy for the Devil" might be what the director was going for here. As the scene continues, his face takes on a more satanic look, complete with horns. Buono underplays and comes off as slimy rather than truly evil. I don't think anyone who has written about this movie actually likes the ending, with most reacting with laughter rather than terror. For some, it ruins the whole movie. I have to agree that I would have liked to have seen a more traditionally dark and Satanic climax, but if you just accept it, it works OK. (The first time I saw this, I admit the ending made me laugh, but this time around, maybe because I was prepared for it, I didn't really have a problem.) There are rumors that some prints of the film left out the entire scene with Buono, but I've never seen that confirmed and it's unclear how the movie would have had a satisfying ending. As a solid B-horror film, I recommend this. [YouTube]

EARTH VS. THE SPIDER (1958)

Truck driver Jack Flynn is heading home one night with a bracelet he bought as a birthday gift for his teenage daughter Carol when, just outside the small town of River Falls, he hits a thick sticky rope stretched across the road and something attacks his truck: the last we see of him is blood spurting from his slashed face. The next day, a worried Carol gets her boyfriend Mike to search the roads. They find the sticky rope and the wrecked truck with her gift inside but no dad. Entering some nearby caves to see if Dad wandered into one, they find some skeletons and fall into a huge sticky web spun by a giant tarantula. They escape and contact the police who investigate, with the encouragement of Kingman, the science teacher, and manage to kill the spider with insecticide. Kingman has the spider taken back and stored in the high school gym so he can study it, but it turns out it’s not quite dead, and when a rock band enters the gym to rehearse for a dance, and a bunch of students follow them, the stage is set for giant spider mayhem, though it’s less Earth vs. the spider than River Falls vs. the spider. This was made during the heyday of horror and sci-fi movies which focused on teenage characters. Gene Persson (Mike) and June Kenney (Carol) were both in their mid-twenties and could more or less pass for students, though Troy Patterson, as Mike's buddy Joe, was 35 and looked it. Their acting sort of passes muster, but it's the special effects that people watch these movies for, and the giant spider is handled pretty well. Mostly we see real spiders photographed up close with a fake background or, most effectively in the gym scene, a split screen effect (pictured at left). Too much time is spent on Carol insisting on putting everyone in danger to get her bracelet back, which she lost in the spider cave. Produced and directed by B-movie royalty Bert I. Gordon; there are references here to two of his other films, ATTACK OF THE PUPPET PEOPLE and THE AMAZING COLOSSAL MAN. Also released as THE SPIDER. A fine Chiller Theater watch. [DVD]

BEAST OF THE YELLOW NIGHT (1971)

Southeast Asia, 1946. U.S. Army deserter Joseph Langdon, on the run in the jungle while leaving behind a trail of dead bodies, is confronted by a serpent who calls him evil. The serpent transforms into a chubby, loinclothed Satan who makes a deal with him. If Langdon will give up his soul, Satan will give him eternal life, reincarnating Langdon at the point of death, remaining evil in each new identity and "awakening the latent evil" in the people he comes into contact with. Some 25 years later, Philip Rogers, horribly mangled in an industrial accident, has died, or so the doctor thinks. But Satan has Langdon inhabit his body and when his bandages come off, he looks like Langdon. Philip's wife Julia, assuming his new face is from plastic surgery, takes him home where he resumes Philip's life, trying to free himself of Satan's influence. But Satan throws in a new twist: at certain moments, Langdon turns into a werewolf-type creature and literally feeds on human beings. It's unclear what triggers the transformations—Satan seems to cause them, but at one point, Satan says that Langdon brings them on himself. They mostly happen at moments of high emotion, including when initiating sex. During a bestial rampage, Langdon bonds with a blind man who tries to help the obviously disturbed Langdon. Though he keeps turning into a monster, Langdon begins to think that he may be on a path to salvation and with the blind man's help might be able to finally die for good and escape his cursed existence. 

This is another low-budget Filipino horror film written and directed by Eddie Romero and starring John Ashley (who was also a producer), pictured. Like the others (THE TWILIGHT PEOPLE, for example) it looks and feels cheap and shoddy though it has its moments. The script is ambitious, with a fair amount of philosophical chatter about life and death and good and evil bandied about, but these themes don't take root, and such talk winds up detracting a bit from the horrific elements. It would have been nice to have spent maybe ten minutes or so on the life Langdon leads between 1946 and the present—Satan notes in the jungle that Langdon's physical body is about to die from eating poisoned seeds, so he had to be somewhere for those 25 years. But undoubtedly I'm thinking too hard about this. As usual, Ashley is fine in the lead role and his frequent co-star Vic Diaz is, if not really good, at least entertaining as a slightly goofy Satan. Mary Wilcox (Julia) seems to have been given little direction and she's a bit wooden. Slightly better is Eddie Garcia as a sympathetic cop. Some critics make fun of the beast makeup, but it's really not bad. I like that he turns into a beast, not a wolf, though the "yellow night" reference in the title is never explained, and there are a couple of decently gory moments. If the phrase “Filipino horror” or the name John Ashley mean something to you, you'll want to see this. [DVD]

THE VAMPIRE AND THE BALLERINA (1960)

In the pre-dawn hours in a European village, a young servant named Brigitte is attacked by a caped figure, but is saved by farm workers and taken to a nearby home. This is the third attack by an assailant who strikes during the full moon and leaves bite marks on the neck of his victim. Meanwhile, a group of scantily clad women are staying in the home; they are a ballet troupe, with the only males being the blondish Luca, the ballet master, and the beefy mustachioed Giorgio, the music director, and they are rehearsing at the home of Luca's uncle, a professor. There is, of course, talk of the vampire myth, the assumption being that the attacked women become anemic and beholden to the will of the vampire. Brigitte dies and later at her funeral, we see her face, looking alive and horrified, visible through a glass panel in the coffin. Two of the dancers, Francesca and Luisa, go for a walk in the woods and when a storm comes up, Luca goes looking for them. They wind up taking refuge in what looks like an abandoned castle, but they are greeted by the Countess Alda and her old and creepy servant Herman. When Luisa goes exploring, she is bitten by Herman, and we soon figure out the vampire setup: Herman goes trolling for women, he drinks their blood and turns young, then goes back to Alda who drinks his blood and he turns old again while Alda keeps her youthful (and buxom) looks. It's hinted that, despite Herman acting like a servant, he is actually the ruler of her in a sadomasochistic relationship. Luisa, who doesn't recall the attack, survives and back at the professor’s place, all the loose talk inspires Giorgio to create a vampire dance. But Alda, smitten with Luca, seems to want to replace Herman with him. The plot eventually goes a bit haywire; things seem to happen based on the conventions of the vampire movie, not because of plot considerations. The climax, on the roof of the castle at dawn, is nicely done.

I liked a later movie by the director, Renato Polselli, the similarly themed THE MONSTER OF THE OPERA, so I backtracked to find this one. Vampires and dancers are central to both, and like OPERA, this one has a few sexy dance sequences, the best being the improvised vampire dance done to Giorgio's music. The women playing the female leads are rather interchangeable and only adequate in acting talent. In fact, the only good acting comes from Maria Luisa Rolando as the countess. She's attractive and sensual and, though the part was apparently written for the great Barbara Steele, Rolando is fine. The male leads, Isarco Ravaioli as Luca and John Turner as Giorgio, are less interchangeable and moderately attractive but also a bit weak in the acting department. Some sapphic touches are presented here and there but not dwelled on. The music is interesting, and at one point, a crazy big band tune breaks out from nowhere. The make-up for the old Herman makes him look less like an old vampire and more like a sci-fi mutant freak. But the make-up for the final scene of the vampires in the sun is nicely gooey, inspired perhaps by Christopher Lee's demise in HORROR OF DRACULA (which I must get around to reviewing one of these days). My favorite line is Luca addressing Alda, "Lady, demon, countess or whatever you are!" I liked OPERA better but this has its moments of fun. Pictured at top left is Maria Luisa Rolando; at right are the two heroes, Isarco Ravaioli and John Turner (aka Gino Turini). [YouTube]