#174 A Bucket of Blood

Watched: April 6 2018

Director: Roger Corman

Starring: Dick Miller, Barboura Morris, Antony Carbone, Julian Burton

Year: 1959

Runtime: 1h 06min

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In a beatnik café, pretentious poet Maxwell H. Brock (Burton) is performing his latest work, to the fascination of busboy Walter Paisley (Miller). Inspired by the artists he surrounds himself with, and also driven by their ridicule of him, Walter decides to try his hand at sculpting.

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“So, how did we do this in Arts and Crafts again..? I just knead it for a while and then it turns out amazing? Can’t be more to it than that!”

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Realising that sculpting is harder than it looks, he takes a break to save his landlady’s cat who’s stuck inside the wall. However, stabbing through it, he accidentally stabs the poor cat. Naturally, he proceeds to cover the dead animal in sculpting clay and the next day he turns up to work with his new sculpture.

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“Dead Cat” is an instant success, admired by art lovers and drug enthusiasts alike

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Walter’s newfound success leads to admiration from his crush Carla (Morris) and other patrons of the café, and a lady gives him some heroin as a gift, as one does. This in turn leads to an attempted arrest as an undercover cop follows Walter home and tries to book him for drug possession. Afraid, Walter hits him over the head with a frying pan, killing the cop instantly.

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What do you do when you accidentally kill a cop? Why, cover the body in clay and pass it off as a life sized sculpture, of course!

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Walter gradually goes from underestimated and accident-prone simpleton to calculating killer who lets every small slight become justification for murder. He is, however, not smart enough to avoid killing people he knows and is known to dislike.

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“It is so sweet that you made a sculpture of a strangled woman who looks exactly like the one who spent last night insulting you very publicly. I simply must kiss you!”

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Leonard (Carbone), the owner of the café, is the only one to see through his newly discovered talent, but he is making money off of Walter’s work and has a vested interest in keeping up the illusion. But how long can this go on? And who is next on Walter’s kill radar?

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“This severed head has been bothering me all week, so I clayed it!”

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A Bucket of Blood is the farcical version of House of Wax. The concepts are similar, but this one is more comedic and strangely also more sinister in many ways. Walter is the epitome of the stereotypical “good guy” – he sees himself as sweet, kind, underestimated and misunderstood, but if he’s rejected by someone, or made fun of, he becomes violent and murderous while simultaneously justifying his actions in his head.

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“I’m a famous and celebrated sculptor now, so you must date me. Unless you’re just a bitch and a whore!”

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We loved his first attempt at sculpting Carla’s face, the extremely pretentious Maxwell and the morbidity of the whole film. We also understand perfectly why Roger Corman made so many films based on the works of Edgar Allan Poe – it’s a match made in heaven! Or probably hell, to be quite frank.

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“If it’s hell, can I still be king..?” “Of course you can, Mr Futterman.”

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What we learned: It’s not easy being surrounded by (pretentious) artists if you’re not one yourself. And also a simpleton…

Next time: Ben-Hur (1959)

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#165 The Fly

Watched: February 19 2018

Director: Kurt Neumann

Starring: David Hedison, Patricia Owens, Vincent Price, Herbert Marshall, Torben Meyer

Year: 1958

Runtime: 1h 34min

So, first of all, we must apologize (once again) for the sporadicness (is that a word..? We’ll say it is.) of the posts lately. We’ve both been very busy with moving, redecorating, and having paying day jobs. Hopefully, the worst is now behind us, and we can get back to more regular updates. On the bright side, we bring you a real treat for Easter! The Fly!

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Somewhere in Canada (the French part), Gaston (Meyer) is having a bad day. He thought he would just have another uneventful day janitoring, but instead he stumbles across the mutilated, crushed body of scientist André Delambre (Hedison) and witnesses Mrs Hélène Delambre (Owens) fleeing the crime scene. Probably not the day he was expecting.

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No one runs like Gaston, no one gasps like Gaston, no one finds mutilated dead guys like Gaston…

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Hélène contacts her brother-in-law François (Price) and while there’s no doubt she killed her husband, she is rich and respected enough to be interrogated by the police in her own bedroom. After a few days of bedrest, with a strange new obsession with flies, she confides in her brother-in-law and recounts the events leading up to her husband’s fatal encounter with the hydraulic press.

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“You’re not going to believe this, but in actual fact it was just like killing a fly! Though a bit more technically complicated. That press isn’t easy to operate.”

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André, a scientist, had been testing out his new invention, a “disintegrator-integrator” with various results (including one that turns their cat into a disembodied meowing phantom). Not content with just transporting things and animals, he decided to test it on himself, as all slightly megalomaniac scientists are prone to do.

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Things went slightly awry…

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As every moviegoer/reader could have predicted, things went very, very wrong, and André’s DNA got mixed up with that of a housefly. Everything pretty much went downhill from there.

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Hélène was not a fan of her husband’s new look

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The Fly from 1958 has a very different approach than Cronenberg’s 1986 version, but we love them both. The title even feels like it might refer to different things in the two versions. This has more of a murder-mystery feel, and there’s less focus on the transformation, although that is still very much present.

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Exhibit A

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We loved the flies buzzing around, the murder-mystery approach, and Vincent Price in all his glory. It’s a lovely, creepy horror film, and a must-see for every fan of the genre. Or of flies. We don’t judge.

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Or even fans of very thick spiderwebs. As we said – we don’t judge your fetish. You do you!

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What we learned: Don’t kill flies without checking thoroughly first.

Next time: Touch of Evil (1958)

#161 Dracula

Watched: January 7 2018

Director: Terence Fisher

Starring: Peter Cushing, Christopher Lee, Michael Gough, Melissa Stribling

Year: 1958

Runtime: 1h 22min

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The story of Dracula hardly needs another recap, but if you still have no idea what this is all about, check out our previous entries on the same story, Dracula (1931) or Nosferatu (1922). We’re pretty sure we summarized the story in at least one of those.

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Blood, fangs, crazy eyes and just a hint of sexy. Really all the info you need.

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That being said, Terence Fisher and screenwriter Jimmy Sangster took some liberties with their 1958 version, mainly concerning some characters and their relationships. Lucy, Mina and Jonathan Harker in particular have gone through some changes.

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Van Helsing is his old, charming self though

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Well-known story and some artistic liberties aside, Hammer’s Dracula (a.k.a. Horror of Dracula) is one of our favourite versions of Bram Stoker’s novel. Christopher Lee is sexy, suave and animalistic as the count, and Peter Cushing is magnetic and dynamic as his arch nemesis.

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We’re honestly not entirely sure how we would react if this guy showed up in our bedroom… Sure, he’s deadly, but what a way to go!

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We absolutely love this movie. There’s nothing like a good vampire story (emphasis on the “good”), and we appreciate that Jonathan Harker is as useless and boring as we’ve always thought he was even as they’ve tried to make his character a bit more interesting.

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Going from accountant to vampire-fighting librarian might sound cool on paper, but he can’t even resist one scantily clad woman. Giles he’s not!

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Now, our eternal love for Gary Oldman is well documented, but even we have to admit that Christopher Lee’s vampire count may be on par with Oldman’s. And despite the many changes to characters etc. made in this version, it stays true to the original story. There’s nothing not to love, and if you’re only going to watch one version of the ultimate vampire romance, you could do a lot worse than this.

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Pro tip: if you have no reflection in the mirror, take a full bath before bedtime. It’s so easy to miss a spot of blood.

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What we learned: If you’re trying to kill a powerful nemesis and his much weaker sidekick, perhaps it is a good idea to take out the main threat first..?

Next time: Elevator to the Gallows (1958)

Bonus: The Monolith Monsters

Watched: December 16 2017

Director: John Sherwood

Starring: Grant Williams, Lola Albright, Les Tremayne, Trevor Bardette, Phil Harvey, Linda Scheley

Year: 1957

Runtime: 1h 17min

NOTE: At the time of watching (and writing) this, it was #155, but we see now that it has been removed from Mr Wright’s list. Still, it’s been watched and written, so we’ll just call it a bonus post and include it anyway, dammit! For details on numbering, read this.

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Meteors have been crashing into the desert in California, and geologist Ben Gilbert (Harvey) brings home a sample of the newly arrived space rocks. There is a storm, and the next day Dave Miller (Williams) arrives only to find his colleague petrified and his lab smashed, with lots of black rocks strewn around everywhere.

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“What a mystery! This calls for a huge sciency pot of sciency coffee and much pondering.”

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Meanwhile, Dave’s girlfriend Cathy Barrett (Albright) takes her class on a field trip to the desert and sends little Ginny (Scheley) home with another sample of the same rock. It ends badly.

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If you think pet rocks are a nice and safe alternative to an actual animal for your child, think again!

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Ginny’s fascination with shiny things kills her family, ruins their farm, and starts to slowly turn her to stone. Dave and Cathy start to investigate, together with a journalist, the police, and several medical doctors. They find that the mysterious rocks start to grow when exposed to water, and suck the silicon out of everything it touches when “activated.” Thank God it never rains in southern California!

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Just kidding. Of course it starts raining.

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With huge rocks making their way slowly and steadily towards the town, smashing everything in their way, it is up to Dave, Cathy, and Dave’s old professor Arthur Flanders (Bardette) to stop the advancing threat, save the town, and save the girl.

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But where to start? Why, by looking at maps and exchanging worried glances, of course.

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The Monolith Monsters is a silly, weird and fun sci-fi. The growing rocks are actually way more sinister than we would have thought possible, and while the premise of the movie is very silly, it is played straight. And it actually works.

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Evil killer rocks. We would have loved to be in that pitch meeting.

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The growing rocks are cool, we loved the newspaper man Martin Cochrane (Tremayne), and the film is a great mix between stupid (dat premise tho!) and serious. Very campy fun – thoroughly recommended if you like strange ’50s science fiction.

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It’s proving hard to find stills from this film, so here’s another picture of the titular “Monolith Monsters.”

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What we learned: Between Them! and this, the desert is no place for little blonde girls. Also, rocks are petrifying. Pun intended.

Next time: The Seventh Seal (1957)

#154 The Incredible Shrinking Man

Watched: December 10 2017

Director: Jack Arnold

Starring: Grant Williams, Randy Stuart, Paul Langton, April Kent, Raymond Bailey, William Schallert

Year: 1957

Runtime: 1h 21min

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Somewhere at sea, a young couple are enjoying a day out on a boat. Louise (Stuart – who we absolutely adored), goes below deck to get Scott (Williams) a drink, and suddenly the man is enveloped by a mysterious, glittery mist.

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“Oh no! This must be one of those evil, communist, homosexual fogs that turn you gay!”

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Although he has no immediate ill effects, after a few months Scott remarks that all his clothes have become too big. Not by a lot, but definitely noticeable. A doctor’s appointment confirms that he is in fact shrinking, and together with medical experts the Carey’s start on their quest to save Scott from a terrible fate.

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“I’m not shrinking. We just underestimated the size of the new furniture we ordered.”

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As Scott shrinks, so does his self-esteem. He becomes angry and hostile towards his wife, with whom he no longer feels like the “man” of the household. He also grows increasingly pretentious as he tries to put his own existence into cosmic perspective. Or something. Oh, and he also has to go into battle with a house cat and a spider, which is less philosophical and more action packed.

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Exploring the usefulness of sewing supplies does not threaten your masculinity. Especially when you use said supplies to battle killer spiders.

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Based on a novel by Richard Matheson, The Incredible Shrinking Man explores identity, masculinity and fancy ’50s atomic science. Scott starts off as a normal, likable man in a happy marriage, but as he shrinks he becomes hostile and erratic. Then again, everything around him becomes increasingly dangerous, so you can’t really blame him for some of his attitude. Except for his anger with his adorable wife.

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“My stupid wife and her stupid cat!”

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It’s a great, old, classic science fiction film, and (most of) the special effects hold up really well even 60 years later. Scott isn’t a particularly likable protagonist/narrator, but it’s still a very entertaining watch, even if from the beginning you get a strong feeling that there’s no way this will end well.

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There’s a feeling of doom even before they bring carnies into the mix

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What we learned: To God there is no zero. Also, avoid being enveloped by mysterious fogs.

Next time: The Monolith Monsters (1957)

Bonus: The Curse of Frankenstein

Watched: December 25 2017

Director: Terence Fisher

Starring: Peter Cushing, Christopher Lee, Hazel Court, Robert Urquhart, Valerie Gaunt

Year: 1957

Runtime: 1h 22min

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Victor Frankenstein (Cushing) is smart, ambitious, handsome, charming and rich. He is also an arrogant jerk. And imprisoned. He confesses to a priest and tells his unusual, and somewhat unbelievable, story.

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“It all started, as these things tend to do, with a dead dog…”

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Orphaned at a fairly young age, Baron Frankenstein hires his own tutor, Paul Krempe (Urquhart), to be his teacher and later partner. Together the two explore the world of science!

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That’s just normal glass – his eyes are really like that. If you don’t believe us, watch Top Secret (1984)

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Their greatest achievement, the reanimation of dead tissue, brings about different reactions in the two scientists. While Kempe’s initial reactions is “yay! This’ll make surgery so much easier and safer!”, Frankenstein’s first impulse is to go out and harvest body parts to make himself a new man-puzzle. Kempe finally starts to see the sociopath in his student, and they have a falling out.

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“It’s MY turn to reanimate the corpse!” “No, it’s MINE!” “Who’s the one paying for all this?” “Screw this, I’m out.”

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Things escalate when Victor straight up murders another intellectual to use his brain for his creation, and then uses his successfully assembled and animated creature (Lee) to kill his knocked up maid Justine (Gaunt) who threatens to expose his shady dealings if he does not marry her.

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“Sorry, sweetheart – you’re certainly not good enough for the likes of me. Think of what the children will be like??? No, I’m engaged to marry my cousin. Yay gene pool!”

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Meanwhile, Victor’s cousin Elizabeth (Court) has arrived to marry him, which adds another complication. With the death toll rising, a creature on the loose, a falling out between the friends, and a Fair Maiden innocently roaming the large house at night, how on earth will this end?

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Let’s face it: fancy, defenseless ladies roaming around castles in the night with only a small lamp for company are usually not indicative of happy endings…

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The Curse of Frankenstein is quite different from its early predecessor Frankenstein despite their many similarities. For one, the monster (or, in this case, creature) isn’t really all that important. As creepy and scary as Christopher Lee is in this, the focus is all on the Mad Scientist Victor Frankenstein.

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For such an unfortunate looking creature, he’s a surprisingly snappy dresser!

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Frankenstein himself is also very different. Personally, we feel that this take on the Baron is closer to the source material than many other incarnations – he really is an arrogant, egotistical, spoiled brat with a God complex in the book, no matter how bad he feels once everything falls apart. Cushing’s Frankenstein is particularly ruthless, and we love him for it. Well, not him as much as this version of events, we suppose. But we definitely love this film!

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…and this guy! #decompositionchic

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What we learned: If you’re going to stand up to a rich, insane, megalomaniac nobleman who doesn’t like being told what to do, you’d better have a contingency plan…

Next time: The Incredible Shrinking Man (1957)

#151 Quatermass 2: Enemy from Space

Watched: December 16 2017

Director: Val Guest

Starring: Brian Donlevy, John Longden, Bryan Forbes, Sid James, William Franklyn

Year: 1957

Runtime: 1h 25min

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Small meteors keep falling near small British village Winnerden Flats, much to the interest of Professor Quatermass (Donlevy). Frustrated with the dried up funding for his lunar base project, the professor decides to look into the strange meteors, only to find a fully constructed lunar base right on the outskirts of the village.

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“Yes – exactly like my model! But bigger. Like, DD big.”

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The entire area is under military control, and when Quatermass’ colleague Marsh (Forbes) is injured by whatever emerges from the gas in the hollow non-meteors, the two are separated; Quatermass is escorted away and Marsh is sent to the base for medical attention.

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“‘Tis but a scratch!”

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With the help of an MP, our hero manages to score an invite to inspect the base, which is supposed to produce synthetic food. But what he finds there is far more sinister than GMOs…

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“My God! And they told me my diet was bad!”

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Like The Quatermass Xperiment before it, Quatermass 2 is the Hammer film version of a BBC series, and it’s a great little sci-fi adventure.

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Banners and gas masks. What a charming party!

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There’s Cold War paranoia, conspiracies, propaganda, brain washing, alien colonization, pretty blondes, and mystery – everything you could possibly wish for in a science fiction horror. Like Invasion of the Body Snatchers and The World’s End (2013), people appear normal and as they’ve always been, but something profound has changed which is hard to pin down. Add to that military operations and creepy gas masks, and you’ve got yourself an uncanny little gem, which we thoroughly enjoyed.

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Did we mention the inflated trash bags?

A fun way to kick off the next 50 films!

What we learned: Everything will be answered later.

Next time: Sweet Smell of Success (1957)

#147 Curse/Night of the Demon

Watched: November 29 2017

Director: Jacques Tourneur

Starring: Dana Andrews, Peggy Cummins, Niall MacGinnis

Year: 1957

Runtime: 1h 35min

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After Professor Harrington dies under mysterious circumstances, his niece Joanna Harrington (Cummins) teams up with the late professor’s colleague John Holden (Andrews) to find the truth. Joanna thinks her uncle’s death is related to a “satanic cult” he was investigating, and specifically the leader Dr Karswell (MacGinnis).

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“He’s not a satanic cult leader! He’s just a happy-go-lucky clown!”

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While Holden has made it his life’s mission to discredit occultism, Ms Harrington is a bit more open to the concept of her uncle’s death being supernatural in origin. But when Holden finds a mysterious paper in his belongings (after a chance encounter with Karswell in the British Library – the no. 1 hang-out place for academics and satanists) and his symptoms start resembling those of the dead man, he gradually starts to come around to Joanna’s way of thinking.

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If you’re chased through the woods by a strange smoke cloud, satanic forces is usually the first and only theory.

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Night of the Demon (or Curse, if you’re American) is less subtle than Tourneur’s earlier work (Cat People and I Walked with a Zombie), where you’re never sure if something supernatural is happening or not. In this, the demon is shown on screen several times, although arguments could be made that they are only seen by the doomed men who believe a demon is out to get them.

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They both see the same, slightly cross-eyed demon though…

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Apparently, this was at the insistence of the producer rather than the vision of Tourneur, and it might have been a better movie without it. Despite the somewhat outdated special effects though, this is still a very enjoyable movie.

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Karswell is nice and sinister throughout, when he’s not in clown make-up that is

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We loved Karswell acting all serious in full-on clown mode; the seance with the singing; the scene on the train; and the general plot. It’s a fun, slightly camp, horror film which is slightly dated but still a good watch – especially if you’re a horror fanatic.

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Or if you’re really into huge, cross-eyed demons floating through dark woods. It’s a fetish, we’re sure.

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What we learned: Don’t mess with the occult. Or with dudes who like to dress up as clowns and live with their mothers.

Next time: Funny Face (1957)

#146 A Face in the Crowd

Watched: November 27 2017

Director: Elia Kazan

Starring: Andy Griffith, Patricia Neal, Walter Matthau, Anthony Franciosa

Year: 1957

Runtime: 2h 6min

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Marcia Jeffries (Neal) is a small town radio reporter who makes a show called “A Face in the Crowd.” As she has the brilliant idea of recording an episode in the local jail, she discovers charismatic drifter Larry “Lonesome” Rhodes, and his music and personality make him an overnight sensation.

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You know it’s going to be a good day when the only unhappy person in jail is the sheriff

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Marcia and her uncle, who owns the radio station, give Lonesome more airtime and soon his popularity spreads across the nation and, via Memphis, he ends up as a TV personality and big time influencer in New York.

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“Look! A tiny, magical me inside a box!”

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On TV, Lonesome Rhodes is a down-to-earth country boy with a heart of gold and grass root wisdom to spew. However, in real life Larry is a selfish scoundrel of a con man who grows increasingly madder with his newfound power and political influence. Marcia, who has fallen in love with her discovery despite being a very smart woman, gradually realises that she has created a monster…

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The face of a completely sane and not at all crazy man, thankyouverymuch!

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In many ways, A Face in the Crowd is more relevant now than it was in 1957. The popular media’s influence on politics, the TV personality’s power over people’s thoughts and opinions, and the yes-men surrounding the star enabling his delusions are all more prominent now than ever.

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Just look at who became president of the USA in the latest election…

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While funny at times, and dramatic at others, it still plays more like a horror movie in many ways than a drama, particularly since it really nails a lot of nasty truths about society and politics.

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We like these guys, though. Especially Walter “I Hate Extroverts” Matthau.

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Weirdly prescient and very unsettling, A Face in the Crowd should be watched by all.

What we learned: Fame is a fickle friend.

Next time: Curse/Night of the Demon (1957)

#141 The Bad Seed

Watched: November 1 2017

Director: Mervyn LeRoy

Starring: Nancy Kelly, Patty McCormack, Henry Jones, Evelyn Varden, Eileen Heckart

Year: 1956

Runtime: 2h 9min

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8 year old Rhoda Penmark (McCormack) is a prim and proper young lady who is a bit spoiled and very straightforward. Her father and neighbours think the world of her, especially landlady Monica Breedlove (Varden), but her mother Christine (Kelly) has noticed a more sinister side to her daughter; she has an explosive temper and is possibly the worst loser in history.

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“Another kid has better handwriting than me! My life is over!”

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When Rhoda fails to win a school prize for penmanship, she does not take it well. Later, at a school picnic, the boy who beat her accidentally drowns. Christine becomes suspicious when she then finds the boy’s missing medal among her daughter’s precious things…

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By precious things, we mean serial killer trophies

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While Christine suspects her daughter may not be quite normal, handyman Leroy (Jones) recognizes exactly what she is – he sees himself in her. He’s too confident in his own supremacy though, so he confronts the child and teases her. Big mistake! She may be tiny and young, but Rhoda is also vicious and resourceful.

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Lesson: never confront a suspected killer, no matter how cute their pigtails are

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The Bad Seed holds up very well, despite the many “evil child”-films which have come since its release. Patty McCormack is perfect as Rhoda – alternating between sweet and deadly effortlessly.

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Mama should have known something was wrong looking into those eyes…

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We loved Monica the Landlady and her psychoanalytical friends, and the crazy and manipulative Rhoda. The film is long and melodramatic, with lots of sitting room exposition (it’s based on a play), but it is also very creepy and engaging. The Freudian influence is very evident, especially when it comes to the (many) weirdly intense parent-child relationships. Or perhaps that’s just how parents and children interacted in the ’50s.

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You know, with poison…

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What we learned: Don’t have kids!

Next time: The Killing (1956)