Film Review – REVENGE OF THE CREATURE (1955)

REVENGE OF THE CREATURE (USA, 1955) **½
      Distributor: Universal Pictures; Production Company: Universal International Pictures (UI); Release Date: 29 March 1955; Filming Dates: late Jun–early Aug 1954; Running Time: 82m; Colour: B&W; Sound Mix: Mono (Western Electric Recording); Film Format: 35mm; Film Process: Universal 3-D (dual-strip 3-D); Aspect Ratio: 2.00:1; BBFC Cert: PG – mild violence, scary scenes.
      Director: Jack Arnold; Writer: Martin Berkeley (based on a story by William Alland); Producer: William Alland; Director of Photography: Scotty Welbourne; Music Composer: William Lava, Herman Stein (both uncredited); Music Supervisor: Joseph Gershenson; Film Editor: Paul Weatherwax; Art Director: Alexander Golitzen, Alfred Sweeney; Set Decorator: Russell A. Gausman, Julia Heron; Costumes: Jay A. Morley Jr.; Make-up: Bud Westmore; Sound: Jack A. Bolger Jr, Leslie I. Carey.
      Cast: John Agar (Professor Clete Ferguson), Lori Nelson (Helen Dobson), John Bromfield (Joe Hayes), Nestor Paiva (Lucas), Grandon Rhodes (Jackson Foster), Dave Willock (Lou Gibson), Robert B. Williams (George Johnson), Charles Cane (Captain of Police).
      Synopsis: The Creature from the Black Lagoon is back! This time he’s captured by scientists and transported to an aquarium in south Florida.
      Comment: Sequel to CREATURE FROM THE BLACK LAGOON (1954) follows genre convention by having the creature (the Gill Man) taken from its natural habitat (the Amazon) to be exhibited at a sea life centre in Florida. There professor Agar and student Nelson study the creature and try to assess its level of intelligence. Of course, the creature escapes and mayhem ensues. There are some well-shot scenes that stand out as individual moments, but once the creature is on the rampage the film descends into routine thrills and chills. Agar is pretty wooden as the male lead, but Nelson is appealing. The finale is something of a let down in its swiftness of resolution.
      Notes: Look for a young, uncredited Clint Eastwood in his first screen appearance as a goofy lab assistant. Also shot in 3-D. Followed by THE CREATURE WALKS AMONG US (1956).

TV Review – DRACULA (2020)

Image result for dracula bbc 2020DRACULA (UK, 2020) **
      Distributor: British Broadcasting Corporation (BBC); Production Company: Hartswood Films / British Broadcasting Corporation (BBC) / Netflix; Release Date: 1-3 January 2020; Running Time: 3 x 90m; Colour: Colour; Sound Mix: Dolby Atmos; Film Format: HD; Aspect Ratio: 1.78:1; BBFC Cert: 15.
      Director: Jonny Campbell, Paul McGuigan, Damon Thomas; Writer: Mark Gatiss, Steven Moffat (based on the novel by Bram Stoker); Producer: Ben Irving, Larry Tanz, Sue Vertue; Executive Producer: Mark Gatiss, Steven Moffat, Ben Irving, Sue Vertue; Director of Photography: Tony Slater Ling; Music Composer: David Arnold, Michael Price; Film Editor: Colin Fair, Tom Hemmings, Paulo Pandolpho; Production Designer: Arwel Jones; Art Director: Harry Trow; Casting: Kate Rhodes James; Costumes: Harriet Ferris; Make-up: Dave Elsey, Lou Elsey; Sound: Doug Sinclair; Special Effects Supervisor: Paul Dunn; Visual Effects Producer: George Tully.
      Cast: Claes Bang (Count Dracula), Dolly Wells (Sister Agatha Van Helsing/Dr. Zoe Van Helsing), John Heffernan (Jonathan Harker), Morfydd Clark (Mina Harker), Joanna Scanlan (Mother Superior), Lujza Richter (Elena), Jonathan Aris (Captain Sokolov), Sacha Dhawan (Dr. Sharma), Nathan Stewart-Jarrett (Adisa), Catherine Schell (Duchess Valeria), Youssef Kerkour (Olgaren), Clive Russell (Valentin), Natasha Radski (Mother), Lydia West (Lucy Westenra), Matthew Beard (Jack Seward), Mark Gatiss (Frank Renfield), Lyndsey Marshal (Bloxham), Chanel Cresswell (Kathleen), Sarah Niles (Meg), Phil Dunster (Quincey Morris).
      Synopsis: In 1897 Transylvania, the blood-drinking Count draws his plans against Victorian London.
      Comment: Adaptations can go one of two ways. Either a faithful representation of the source material or a completely different take. So, what to make of Mark Gatiss and Steven Moffat’s take on Dracula? It seems to me that it tries to be all things to all people and will therefore likely end up disappointing most. Why? Moffat, in particular, for some-time now has been trying to be too smart in his writing, going for showstopping revelation after show-stopping revelation. He brings that thinking to Dracula as the adaptation veers increasingly further away from its source material as it painfully slowly progresses the narrative. The story is divided into three distinct sections across the three episodes. the first deals with Jonathan Harker’s visit to Castle Dracula and the horrific discoveries he makes there. the second with Dracula’s voyage to England and the third with the ultimate showdown in London. Gatiss is an ardent fan of the horror genre and of Hammer films in particular. His influence is seen at its greatest in the atmospheric first episode, which for the most part establishes a truly gothic and horrific setting. The problem is that after this promising opener, the second episode stalls during the interminable and repetitive voyage, with Dracula picking off the crew one by one, before it finally veers off the rails completely in the third episode by moving the action to a modern-day setting. The result is jarring and neither does justice to Stoker nor succeeds as a post-modern interpretation. Gatiss and Moffat’s vision comes across as two writers trying to be overly smart without the needed controlling hand to challenge their increasingly wild ideas.  It’s a shame because there is a lot to commend the production from a technical standpoint and in the charismatic performances of Bang and Wells – if you can accept both in their wise-cracking characterisations. Viewers not familiar with the Dracula legacy both in print and on-screen may find much to enjoy, but those more acquainted with Stoker or Lugosi or Lee will likely see the smugness of the characters as an unnecessary enhancement. For me, I finished the viewing experience having enjoyed aspects, mostly those which steered a closer course to my ideal, but was frustrated by the liberties taken with the material and the looseness and laziness of some of the writing –  the close of episode two with Dracula emerging from the sea after over one hundred years only to find a police task force and helicopter waiting is written for effect without a care for logic. Stronger editing could have condensed this self-indulgent and bloated misfire into something leaner and more efficient. A shorter piece would have made the viewing experience much more rewarding and avoided a lot of the repetitiveness. Four and a half hours of Gatiss and Moffat’s trying to demonstrate how clever they are as writers to me detracted from the core story and whilst their vision for Dracula can be seen as a brave attempt to do something different it strays too far from the novel and legacy to be satisfying.

Film Review – CREATURE FROM THE BLACK LAGOON (1954)

Image result for creature from the black lagoonCREATURE FROM THE BLACK LAGOON (USA, 1954) ***½
     Distributor: Universal Pictures (USA), General Film Distributors (GFD) (UK); Production Company: Universal International Pictures (UI); Release Date: 12 February 1954 (USA), 9 December 1954 (UK); Filming Dates: 13 October 1953 – 15 November 1953; Running Time: 79m; Colour: B&W; Sound Mix: Mono (Western Electric Recording); Film Format: 35mm; Film Process: Universal 3-D (dual-strip 3-D); Aspect Ratio: 1.85:1; BBFC Cert: PG.
     Director: Jack Arnold; Writer: Harry Essex, Arthur A. Ross (based on a story by Maurice Zimm); Producer: William Alland; Director of Photography: William E. Snyder; Music Composer: Henry Mancini, Hans J. Salter, Herman Stein (all uncredited); Music Supervisor: Joseph Gershenson; Film Editor: Ted J. Kent; Art Director: Hilyard M. Brown, Bernard Herzbrun; Set Decorator: Russell A. Gausman, Ray Jeffers; Costumes: Rosemary Odell (wardrobe for Miss Adams); Make-up: Bud Westmore; Sound: Leslie I. Carey, Joe Lapis.
     Cast: Richard Carlson (David Reed), Julie Adams (Kay Lawrence), Richard Denning (Mark Williams), Antonio Moreno (Carl Maia), Nestor Paiva (Lucas), Whit Bissell (Dr. Thompson), Bernie Gozier (Zee), Henry A. Escalante (Chico). Uncredited: Ricou Browning (The Gill Man (in water)), Ben Chapman (The Gill Man (on land)), Art Gilmore (Narrator (voice)), Perry Lopez (Tomas), Sydney Mason (Dr. Matos), Rodd Redwing (Louis – Expedition Foreman).
     Synopsis: A strange prehistoric beast lurks in the depths of the Amazonian jungle. A group of scientists try to capture the animal and bring it back to civilization for study.
     Comment: Late contender in the classic Universal monster series has a basic plot and variable performances from its cast. These deficiencies are countered by the excellent creature design and some effective and tense underwater footage. Adams also makes for a strong heroine, with whom the creature has become fixated (echoes of “Beauty and the Beast”). The music score was compiled from work by three different uncredited composers as well as stock material, but the memorable (if oversued) creature theme was written by Stein.
     Notes: Underwater sequences were directed by James Curtis Havens and the creature was designed by Milicent Patrick. Originally produced in 3-D. Followed by REVENGE OF THE CREATURE (1955) and THE CREATURE WALKS AMONG US (1956).

Film Review – THE FOG (1980)

THE FOG (USA, 1980) ****
PRODUCTION: Distributor: AVCO Embassy Pictures; Production Company: AVCO Embassy Pictures / EDI / Debra Hill Productions; Release Date: 1 February 1980 (USA), 6 November 1980 (UK); Filming Dates: May 1979; Running Time: 90m; Colour: Metrocolor; Sound Mix: Mono; Film Format: 35mm; Film Process: Panavision; Aspect Ratio: 2.35:1; BBFC Cert: 15 – strong horror.
CREW: Director: John Carpenter; Writer: John Carpenter, Debra Hill; Executive Producer: Charles B. Bloch; Producer: Debra Hill; Associate Producer: Barry Bernardi, Pegi Brotman; Director of Photography: Dean Cundey; Music Composer: John Carpenter; Film Editor: Charles Bornstein, Tommy Lee Wallace; Production Designer: Tommy Lee Wallace; Art Director: Craig Stearns; Set Decorator: ; Costumes: Stephen Loomis, Bill Whitten; Make-up: Rob Bottin; Sound: Ron Horwitz; Special Effects: Richard Albain Jr.; Visual Effects: James F. Liles.
CAST: Adrienne Barbeau (Stevie Wayne), Jamie Lee Curtis (Elizabeth Solley), Janet Leigh (Kathy Williams), John Houseman (Mr. Machen), Tom Atkins (Nick Castle), James Canning (Dick Baxter), Charles Cyphers (Dan O’Bannon), Nancy Kyes (Sandy Fadel), Ty Mitchell (Andy Wayne), Hal Holbrook (Father Malone), John F. Goff (Al Williams), George ‘Buck’ Flower (Tommy Wallace), Regina Waldon (Mrs. Kobritz), Jim Haynie (Dockmaster), Darrow Igus (Mel), John Vick (Sheriff Simms), Jim Jacobus (Mayor), Fred Franklyn (Ashcroft), Ric Moreno (Ghost), Lee Socks (Ghost), Tommy Lee Wallace (Ghost), Bill Taylor (Bartender), Rob Bottin (Blake), Charles Nicklin (Blake), Darwin Joston (Dr. Phibes), Laurie Arent (Child), Lindsey Arent (Child), Shari Jacoby (Child), Christopher Cundey (Child), John Strobel (Grocery Clerk).
SYNOPSIS: A Northern California fishing town, built 100 years ago over an old leper colony, is the target for revenge by a killer fog containing zombie-like ghosts seeking revenge for their deaths.
COMMENT: A fine example of economic filmmaking, this is a creepy and atmospheric ghost story with more than its fair share of thrills. Carpenter nicely ratchets up the tension and a game cast keep the viewer engaged. Holbrook gives the standout performance as the guilt-laden priest who is a descendant of a clergyman instrumental in creating the events that come back toi haunt the community. Curtis and Atkins make strong everyday characters and Leigh enjoys herself as a community leader. The unsettling mood is enhanced Carpenter’s eerie electronic score, which heklps to ratchet up the fear factor.
NOTES: Remade in 2005.

Film Review – QUATERMASS AND THE PIT (1967)

QUATERMASS AND THE PIT (UK, 1967) ****
PRODUCTION: Distributor: Warner-Pathé Distributors (UK), Twentieth Century Fox (USA); Production Company: Hammer Film Productions; Release Date: 29 September 1967 (UK), 7 February 1968 (USA); Filming Dates: 27 February 1967 – 25 April 1967; Running Time: 97m; Colour: Technicolor; Sound Mix: Mono (RCA Sound Recording); Film Format: 35mm; Film Process: Spherical; Aspect Ratio: 1.66:1; BBFC Cert: 12.
CREW: Director: Roy Ward Baker; Writer: Nigel Kneale (based on an original story by Nigel Kneale); Producer: Anthony Nelson Keys; Director of Photography: Arthur Grant; Music Composer: Tristram Cary; Music Supervisor: Philip Martell; Film Editor: James Needs; Casting Director: Irene Lamb; Art Director: Kenneth Ryan; Costumes: Rosemary Burrows; Make-up: Michael Morris; Sound: Sash Fisher, Roy Hyde; Special Effects: Les Bowie, Sydney Pearson.
CAST: James Donald (Doctor Roney), Andrew Keir (Quatermass), Barbara Shelley (Barbara Judd), Julian Glover (Colonel Breen), Duncan Lamont (Sladden), Bryan Marshall (Captain Potter), Peter Copley (Howell), Edwin Richfield (Minister), Grant Taylor (Police Sergeant Ellis), Maurice Good (Sergeant Cleghorn), Robert Morris (Watson), Sheila Steafel (Journalist), Hugh Futcher (Sapper West), Hugh Morton (Elderly Journalist), Thomas Heathcote (Vicar), Noel Howlett (Abbey Librarian), Hugh Manning (Pub Customer), June Ellis (Blonde), Keith Marsh (Johnson), James Culliford (Corporal Gibson), Bee Duffell (Miss Dobson), Roger Avon (Electrician), Brian Peck (Technical Officer), John Graham (Inspector), Charles Lamb (Newsvendor).
SYNOPSIS: An ancient Martian spaceship is unearthed in London and proves to have powerful psychic effects on the people around.
COMMENT: Splendid feature film adaptation of Nigel Kneale’s 1958 6-part BBC TV serial with, despite budget constraints, impressive visual and special effects work. Baker directs with flair and with inventive use of the camera. Keir adds gravitas in a strong performance as Quatermass, whilst Glover plays the typically closed-minded army captain. Donald and Shelley are the scientists who work alongside Keir to prevent the alien threat from being released. The thrilling final act makes for an exciting conclusion.
NOTES: Originally released in the USA as FIVE MILLION YEARS TO EARTH. Followed by THE QUATERMASS CONCLUSION (1979).

Film Review – THE THING FROM ANOTHER WORLD (1951)

Image result for the thing from another worldTHE THING FROM ANOTHER WORLD (USA, 1951) ****½
      Distributor: RKO Radio Pictures (USA), General Film Distributors (GFD) (UK); Production Company: RKO Radio Pictures / Winchester Pictures Corporation; Release Date: 6 April 1951 (USA), 1 August 1952 (UK); Filming Dates: 25 October 1950 – 3 March 1951; Running Time: 87m; Colour: B&W; Sound Mix: Mono (RCA Sound System); Film Format: 35mm; Film Process: Spherical; Aspect Ratio: 1.37:1; BBFC Cert: PG – contains mild threat.
      Director: Christian Nyby; Writer: Charles Lederer (based on the story “Who Goes There?” by John W. Campbell Jr. (as Don A. Stuart)); Producer: Howard Hawks; Associate Producer: Edward Lasker; Director of Photography: Russell Harlan; Music Composer: Dimitri Tiomkin; Film Editor: Roland Gross; Art Director: Albert S. D’Agostino, John Hughes; Set Decorator: Darrell Silvera, William Stevens; Costumes: Michael Woulfe; Make-up: Lee Greenway; Sound: Phil Brigandi, Clem Portman; Special Effects: Donald Steward; Visual Effects: Linwood G. Dunn.
      Cast: Margaret Sheridan (Nikki Nicholson), Kenneth Tobey (Capt. Patrick Hendry), Robert Cornthwaite (Dr. Arthur Carrington), Douglas Spencer (Ned Scott), James Young (Lt. Eddie Dykes), Dewey Martin (Crew Chief Bob), Robert Nichols (Lt. Ken Erickson), William Self (Cpl. Barnes), Eduard Franz (Dr. Stern), Sally Creighton (Mrs. Chapman), James Arness (‘The Thing’). Uncredited: Edmund Breon (Dr. Ambrose), Nicholas Byron (Tex Richards), John Dierkes (Dr. Chapman), George Fenneman (Dr. Redding), Lee Tung Foo (Lee – a Cook), Paul Frees (Dr. Vorhees), Everett Glass (Dr. Wilson), ‘King Kong’ Kashey (Eskimo), David McMahon (Brig. Gen. Fogarty), Bill Neff (Bill Stone), Walter Ng (Second Cook), Charles Opunui (Eskimo), Norbert Schiller (Dr. Laurence), Robert Stevenson (Capt. Smith – Fogarty’s Aide), Riley Sunrise (Eskimo).
      Synopsis: Scientists and American Air Force officials fend off a blood-thirsty alien organism while at a remote arctic outpost.
      Comment: Although it plays loose with the source material this is a tense, tightly scripted and well-acted sci-fi that bears all the hallmarks of producer Hawks despite being credited as directed by his long-time editor Nyby. Hawks’ trademarks of overlapping dialogue and a strong female character (Sheridan) always ahead of her male suitor (Tobey) are immediately evident. The movie was to become a major influence on the sci-fi horror genre. Arness, in heavy make-up, is “The Thing” and Spencer’s warning to the world “Watch the skies” captures the political paranoia of the period.
      Notes: Re-issue version runs 81m. A remake, following the source material more closely, was released in 1982, which itself generated a prequel in 2011. The complete title of the viewed print was The Thing from Another World . In the opening credits, the words “The Thing” appear first in exaggerated, flaming type, followed by the words “from another world” in smaller, plain type. The picture was copyrighted in early Apr 1951 under the title The Thing . According to publicity materials contained in the file on the film at the AMPAS Library, producer Howard Hawks added the words “from another world” to avoid confusion with a novelty song entitled “The Thing,” which was a hit single at the time of the picture’s release. Margaret Sheridan, a former fashion model, made her screen debut in the picture.

Film Review – THE MUMMY (1932)

Image result for the mummy 1932THE MUMMY (USA, 1932) ****
     Distributor: Universal Pictures; Production Company: Universal Pictures; Release Date: 22 December 1932 (USA); Filming Dates: mid September – mid October 1932; Running Time: 73m; Colour: B&W; Sound Mix: Mono (Western Electric Noiseless Recording Sound System); Film Format: 35mm; Film Process: Spherical; Aspect Ratio: 1.37:1; BBFC Cert: PG – mild horror and violence.
     Director: Karl Freund; Writer: John L. Balderston (from a story by Nina Wilcox Putnam & Richard Schayer); Executive Producer: Carl Laemmle; Producer: Carl Laemmle Jr.; Associate Producer: Stanley Bergerman (uncredited); Director of Photography: Charles J. Stumar; Music Composer: James Dietrich (uncredited); Film Editor: Milton Carruth; Art Director: Willy Pogany (uncredited); Costumes: Vera West (uncredited); Make-up: Jack P. Pierce (uncredited); Sound: Joe Lapis (uncredited); Special Effects: John P. Fulton.
     Cast: Boris Karloff (Imhotep), Zita Johann (Helen Grosvenor), David Manners (Frank Whemple), Arthur Byron (Sir Joseph Whemple), Edward Van Sloan (Doctor Muller), Bramwell Fletcher (Ralph Norton), Noble Johnson (The Nubian), Kathryn Byron (Frau Muller), Leonard Mudie (Professor Pearson), James Crane (The Pharaoh), Henry Victor (The Saxon Warrior (scenes Deleted)), Arnold Gray (Knight (scenes deleted)). Uncredited: Florence Britton (Nurse), Jacob Dance (Party Guest), Jack Deery (Party Guest), Bill Elliott (Party Guest), Leyland Hodgson (Gentleman #2 at Cairo Party), Eddie Kane (Inspector’s Assistant), Tony Marlow (Police Inspector), C. Montague Shaw (Gentleman #1 at Cairo Party), Pat Somerset (Helen’s Dancing Partner), Arthur Tovey (Nubian).
      Synopsis: A resurrected Egyptian mummy stalks a beautiful woman he believes to be the reincarnation of his lover and bride.
     Comment: Another of Universal’s horror classics. This one relies on atmosphere and mood rather than thrills and shocks. Karloff gives a mesmerising performance as the re-incarnated Imhotep. Jack Pierce’s make-up is first-class and is well lit by cameraman  Stumar – notably in scenes were Karloff takes over the minds of those who would get in his way. Johann makes for an effective descendant who comes under Karloff’s spell, using her eyes and body to alluring effect. Van Sloan follows up his appearances in DRACULA (1931) and FRANKENSTEIN (1931) by again playing the expert doctor, here figuring out the mystery behind Karloff’s plans. There is only a limited musical score resulting in lapses in tension and the story feels a little one-paced as a result. A host of sequels, remakes and copies followed, but at the time this was a unique and unsettling experience that sat just behind its illustrious predecessors.
Notes: The main theme music to the opening credits is the exact same movement from “Swan Lake” used to open DRACULA one year earlier. Unlike other Universal Monsters films, THE MUMMY had no official sequels, but rather was reimagined in THE MUMMY’S HAND (1940) and its sequels, THE MUMMY’S TOMB (1942), THE MUMMY’S GHOST (1944), THE MUMMY’S CURSE (1944), and the studios’ comedy-horror crossover movie ABBOTT AND COSTELLO MEET THE MUMMY (1955). These films focus on the titular character named Kharis (Klaris in the Abbott and Costello film). Remade in 1959 and 1999.

Film Review – FRANKENSTEIN (1931)

Image result for FRANKENSTEIN 1931FRANKENSTEIN (USA, 1931) ****½
Distributor: Universal Pictures (USA), General Film Distributors (GFD) (UK); Production Company: Universal Pictures ; Release Date: 21 November 1931 (USA), 25 January 1932 (UK); Filming Dates: 24 August 1931 – 3 October 1931; Running Time: 70m; Colour: B&W; Sound Mix: Mono (Western Electric Sound System); Film Format: 35mm; Film Process: Spherical; Aspect Ratio: 1.20:1; BBFC Cert: PG – mild horror and violence.
Director: James Whale; Writer: Garrett Fort, Francis Edward Faragoh (Based on the novel “Frankenstein or, the Modern Prometheus” by Mary Wollstonecraft Shelley and the composition of John L. Balderston from the play “Frankenstein” by Peggy Webling); Executive Producer: Carl Laemmle; Producer: Carl Laemmle Jr.; Associate Producer: E. M. Asher; Director of Photography: Arthur Edeson; Music Composer: Bernhard Kaun (uncredited); Film Editor: Maurice Pivar, Clarence Kolster; Art Director: Charles D. Hall; Costumes: ; Make-up: Jack P. Pierce; Sound: C. Roy Hunter; Special Effects: John P. Fulton (uncredited).
Cast: Colin Clive (Henry Frankenstein), Mae Clarke (Elizabeth), John Boles (Victor Moritz), Boris Karloff (The Monster), Edward Van Sloan (Doctor Waldman), Frederick Kerr (Baron Frankenstein), Dwight Frye (Fritz), Lionel Belmore (The Burgomaster), Marilyn Harris (Little Maria). Uncredited: Ted Billings (Villager), Mae Bruce (Screaming Maid), Jack Curtis (Villager), Arletta Duncan (Bridesmaid), William Dyer (Gravedigger), Francis Ford (Hans), Mary Gordon (Mourner), Soledad Jiménez (Mourner), Carmencita Johnson (Little Girl), Seessel Anne Johnson (Little Girl), Margaret Mann (Mourner), Michael Mark (Ludwig), Robert Milasch (Villager), Pauline Moore (Bridesmaid), Inez Palange (Villager), Paul Panzer (Mourner at Gravesite), Cecilia Parker (Maid), Rose Plumer (Villager), Cecil Reynolds (Waldman’s Secretary), Ellinor Vanderveer (Medical Student).
Synopsis: Horror classic in which an obsessed scientist assembles a living being from parts of exhumed corpses.
Comment: Following the success of Dracula, released in February 1931, Universal quickly put this adaptation of Mary Shelley’s literary horror classic into production. The result was an even stronger film that brought a greater cinematic presence to the stage play adaptation. This is notable in the production design, with its angular sets echoing those seen in the silent expressionist films from Germany. The set design and atmosphere are heightened by Edeson’s use of contrast in his cinematography. Like Dracula, this production did not feature a musical score and potentially loses some tension as a result. This is more than made up for by Karloff’s performance as the Monster, in which he manages to which evoke sympathy from the audience despite his horrific appearance. Frye, who produced the best performance in Dracula, returns here as the hunchback assistant to Colin Clive’s Frankenstein. Clive’s own performance may be melodramatic but convincingly conveys the character’s descent into madness. Van Sloan (another carry-over from Dracula) is effective as Clive’s mentor. Mae Clarke plays the love interest and provides the screams. The result is a monster classic that set the bar for all Universal horror productions, including a host of sequels commencing with BRIDE OF FRANKENSTEIN (1935), to follow.
Notes: Van Sloan (Dr Waldman) also makes an uncredited appearance as himself in the film’s prologue, in order to warn audiences of what follows. In 1991, the Library of Congress selected Frankenstein for preservation in the United States National Film Registry as being “culturally, historically, or aesthetically significant.”

Film Review – DRACULA (1931)

Dracula (1931; USA; B&W; 75m) ****  d. Tod Browning; w. Louis Bromfield, Tod Browning, Max Cohen, Dudley Murphy, Louis Stevens; ph. Karl Freund; m. Philip Glass (1999 release).  Cast: Bela Lugosi, Helen Chandler, Dwight Frye, Edward Van Sloan, David Manners, Herbert Bunston, Michael Visaroff, Frances Dade, Joan Standing, Charles K. Gerrard, Dorothy Tree, Tod Browning. The ancient vampire Count Dracula arrives in England and begins to prey upon the virtuous young Mina. The original Universal horror shows many signs of its age – from its static stage play background, lack of musical score to build the tension and hammy acting – particularly from Lugosi in the lead. However, these faults have to be taken in the context of the history it helped create. Despite his sometimes overwrought delivery, Lugosi does create a hypnotic spell over his victims and the audience. Frye gives the film’s best performance as Dracula’s fly-eating servant, his descent into which is set up in the opening sequence. The production design is truly gothic and helps create an atmosphere of unease. Much better was to follow, but this is still a historic moment in cinema history. Universal released a newly restored version of the film in 1999 that included a musical score by Glass. The original “Swan Lake” music during the opening credits was removed. Based on the play by Hamilton Deane, John L. Balderston and Garrett Fort adapted from the novel by Bram Stoker. Followed by DRACULA’S DAUGHTER (1936). [PG]

Film Review – HALLOWEEN (2018)

Image result for halloween 2018Halloween (2018; USA; Colour; 106m) ***  d. David Gordon Green; w. David Gordon Green, Danny McBride; ph. Michael Simmonds; m. John Carpenter, Cody Carpenter, Daniel A. Davies.  Cast: Jamie Lee Curtis, Judy Greer, Virginia Gardner, Nick Castle, Will Patton, Toby Huss, Miles Robbins, Haluk Bilginer, Jefferson Hall, Andi Matichak, Christopher Allen Nelson. Laurie Strode comes to her final confrontation with Michael Myers, the masked figure who has haunted her since she narrowly escaped his killing spree on Halloween night four decades ago. Whilst this ignores much of the HALLOWEEN legacy, including H2O, it recalls some of the themes of that twentieth-anniversary sequel by concentrating on the impact of the events of the 1978 original on Curtis’ character. Green lacks Carpenter’s artistic vision and use of camera and lighting, but still conjures up a solid chiller with some nice nods to the original. [18]