Tag Archives: William Beaudine

BILLY THE KID VERSUS DRACULA AND JESSE JAMES MEETS FRANKENSTEIN’S DAUGHTER (1966)

In 1966, William “One-Shot” Beaudine produced two western-horror hybrids, which were rare for the period. True to Beaudine’s M.O., they were also two of the year’s worst movies.

Billy the Kid Versus Dracula is the better known of the two, primarily because it stars as the vampire. Carradine had a pragmatic approach to film acting: if you paid him a good salary, he gave a good performance. If you gave him a cheap salary, he gave a cheap performance. What meager budget this film had must have all gone to paying Carradine, because he’s easily the best thing about it—which is not to say he’s good. He’s not, but he’s entertaining, giving what looks like a fifty-dollar, bug-eyed, ham performance that hardly compares to his work in The Grapes of Wrath, Stagecoach, etc.

Still from Billy the Kid Versus Dracula (1966)Dracula has left Transylvania and is traveling out West via stagecoach. He puts the bite on Folgers Coffee lady Virginian Christine and an Indian girl, turns into a bat (with clearly visible strings), and then takes on the identity of Jack Underhill so he can vampirize pretty Betty (Melinda Plowman). Unfortunately for Drac, Betty is engaged to wholesome hombre (?!) Billy the Kid (Chuck Courtney).

Christine, under Drac’s control, is no Dwight Frye, but she’s almost as much fun here as she was selling coffee. Plowman is pure decor, and she doesn’t seem to affect Courtney, who’s a dreadfully neutered Billy. Without Carradine’s repeated barking, hypnotizing, and wired bat flights to liven up the many dull stretches, the film wouldn’t even qualify in a bad lover movie list. Well into alcoholism, Carradine looks flamboyantly dead already. His showdown with Billy is in a silver mine, and although bullets pass right through Drac, he gets conked out by the butt of a pistol. Of course, he doesn’t get to actually slaughter anyone.

Baron Frankenstein’s granddaughter, Maria (Narda Onyx) lives out West, too, in Jesse James Meets Frankenstein’s Daughter. She has a lab and wants to make a new monster.

Meanwhile Jesse James (John Lupton) and his wounded henchman Hank (Cal Bolder) need a doctor. The local Mexican girl Juanita (Estelita, milking all the south-of-the-border cliches ) warns them against taking Hank to Lady Frankenstein: “These Frankensteins are bad people. My people will return when the last Frankenstein is gone.” The law on his heels, Jesse doesn’t listen, but wonders if Juanita is onto something when Maria takes him into a library with no books. Hmmm. Jesse kisses Juanita. Juanita is now in love and runs to the sheriff to save Jesse from those Frankensteins, even thought she knows Jesse is wanted and will be hung—but Juanita will wait for him (?!?) Lo and behold, Maria, wearing  what looks like a pride flag motorcycle helmet, transforms Hank into Igor, shouting “I am in command. You will obey! Kill, kill!” Well, apparently he could have used a better brain, or a touch of tenderness, because he kills Maria.

Still from Jesse James Meets Frankenstein's Daughter (1966)Onyx is a campy hoot, and again a bad performance enlivens Beaudine’s listless direction and a moronic script by Carl Hittleman. Although neither film is trashy or charming enough, the titles, and a couple of cheez whiz performances, may be enough to convince you to add it to a seasonal party playlist. Or, perhaps not.

BELA LUGOSI AND THE MONOGRAM NINE, PART TWO (1942-1944)

Read the introduction to the Monogram Nine.

Bowery at Midnight (1942), directed by , is a surprisingly dour crime melodrama, with a dash of horror (no doubt mandated by ‘s casting). It borrows heavily from another Lugosi vehicle, Dark Eyes of London (1939), although the earlier movie was from an Edgar Wallace story. Bowery At Midnight is comparatively muddled. As in Dark Eyes, Lugosi again sort of plays dual roles, and does some actual acting. The explanation of why his professor character needs a second identity (he uses a soup kitchen as a front to recruit gang members) is nonsensical, however, as is his need to keep zombies in the basement (?!?) Despite its muddled narrative, this, along with Black Dragons, may be the strangest of the Monogram Nine. It has pacing issues, but Lugosi’s performance and the ending, which is still jolting even today, almost make up for the film’s numerous flaws. It has quite a cult reputation, which is perhaps why fans have a trio of options to purchase superior editions from Roan, Troma, or the Retromedia Blu-Ray edition.

Still from The Ape Man (1943)Those who think Bela Lugosi reached the nadir of dignity working with may want to check him out with glued-on whiskers, hunched over, grunting like a monkey, and scratching his arm pit in 1943’s The Ape Man. It’s directed by William “One Shot” Beaudine who got his name because—you guessed it—he almost never did a second take. The plot rips off an earlier Monogram property, 1940’s The Ape (with ). That one at least had a decent central performance, despite its ludicrous plot. Ape Man, however, may be Lugosi’s most humiliating hour, with the actor looking more like an Amish preacher than an ape man, whining about his condition as he scrunches in a corner, needing spinal fluid. It’s poorly lit and, despite its obvious intent to be a parody, its dreadfully dull. It’s so bad that the white-bread heroes ( and Louise Curry) are actually a relief from the tedium. If they, and the film’s strained humor, are enough to interest you, it’s in the public domain, so there’s YouTube or some inexpensive DVD editions (none of which are remastered).

Ghosts on the Loose (1943, directed by Beaudine) is Lugosi’s second—and thankfully final—team-up with the Bowery Boys. As in The Ape Man, the film is poorly lit. Beaudine seems to have stuck the camera in the middle of room, yelled “action,” and left for lunch. The (very) minimal charm and energy of Spooks Run Wild is completely absent here, and Lugosi has nothing to do. He was lucky. Ava Gardner (of all people) embarrasses herself far more in this utterly dismal excrement. This is easily the worst of the lot, something even the most forgiving defenders of the Monogram Nine unanimously agree on. The Roan Group did what they could with the DVD.

By contrast, Voodoo Man (1944, again directed by Beaudine) is a hoot, with a trio of horror stars in Lugosi, George Zucco, and . Girls are disappearing from Zucco’s gas station. Yes, you read that right. Carradine is the imbecile abductor working for Dr. Lugosi, whose wife has been a zombie for 22 years. His scientific skills having failed him, Lugosi becomes a Voodoo Man, abducting pretty girls in an effort to transfer their souls into his wife. Darn it, none of the girls have worked so far. Yes, its a ludicrous reworking of The Corpse Vanishes, only this time we have a horror writer (Todd Andrews) whose bride-to-be gets abducted. A clearly stoned Carradine beats a drum, Lugosi and Zucco sport wacky robes, and Andrews wonders if the shenanigans would make a good movie starring Bela Lugosi. Its tongue firmly in cheek, Voodoo Man sizzles in its ridiculousness. Lugosi is good here, leading a colorful cast who seem to be enjoying themselves. It’s contagious. We should be grateful to Olive Films for not subscribing to the film’s reputation as bad cinema, because they remaster it like it’s a neglected masterpiece. This is my personal favorite of the Nine.

Return of the Ape Man (1944, directed by ) is not a sequel to The Ape Man. According to the credits, it also stars Lugosi, Zucco, and Carradine, but Zucco became ill and was replaced by Frank Moran. Lugosi and Carradine thaw out a Neanderthal  man and want to give him a brain transplant. Lugosi intends to use a wino, but things do not go right, and Carradine is toast. The result is a murdering caveman who plays the piano. Oh, and he hates blow torches, too. Lugosi echoes the film in being goofy and entertaining as hell. Some, probably people who used to pull the wings off butterflies, cite this as the worst of the Nine. Ignore them. Olive films did. My advice: buy the Blu-Ray of this and Voodoo Man and throw one hell of a bad movie party.

1944 DRIVE-IN DOUBLE FEATURE: THE CORPSE VANISHES AND VOODOO MAN

This is the introductory entry in a new series covering movies that originally played in drive-in-cinema double bills across the country.

One of the first drive-in theaters premiered in Camden, New Jersey in 1933. The venue’s popularity reached its zenith from the 1950s to the early 1980s.  Still, the 1940s was also a robust decade for the drive-in, which specialized in low budget B-films, especially horror and science fiction. The setting was also unique in that drive-ins continued to screen films from the 30 and 40s all the way until the late 70s. For a more extended discussion, see my article Cinema Under The Stars.

Coming Attraction! Black Dragons!

“Suicide or murder in the shadow of a nation’s capitol? The screen’s master of horror, has the answer to this mysterious death. Lugosi as the madman on a mission of vengeance, vengeance  against 6 men who plot the destruction of a nation at war.”

Coming Attraction…

“Ominous footsteps in the night foreshadow terrifying death. By Day… A Man Of Honor. By Night… A Beast Of Horror. Bela Lugosi. The Invisible Ghost.

It’s Showtime!

Brides are dying at the altar, and somebody’s responsible. Before being forever robbed of the opportunity to lose her virginity, each bride was given an mysterious orchid—with a scent. Whoever heard of an orchid with a scent? Maybe it’s a clue. Another clue might be that the same undertaker shows up at every crime scene—and he looks just like Dracula. Odd, too, that all of the brides’ corpses vanish! Luana Walters steals the entire film as the spunky reporter giving Lois Lane a run for her money.

Promotional still for The Corpse Vanishes (1942)Bela’s got a bitch of a wife, too (Elizabeth Russell, from Cat People). She hates aging but, somehow, the blood of virgin brides acts like botox for her. Bela, being a mad doctor, injects it. He’s got a pair of henchman, too: Frank Moran (who’s kind of a precursor to ‘s hulking brute in Bride of the Monster) and dwarf (from Freaks).

The movie has an imbecilic charm, but it never quite reaches the sap level of PRC’s The Devil Bat (1940) or Lugosi’s work with .

“Show starts in 10 minutes! We will now have an intermission time before starting our next show!”

“Get the item that adds to your personal comfort. Cigarettes? Here they are! Get the kind you prefer and enjoy them thoroughly; all the most popular brands.”

“Ice cream bars! It’s the handy way to enjoy smooth, rich, creamy ice cream. Get some!”

“Crisp, flavorful fish sandwiches. Gold and brown and crunchy outside and tender and juicy inside for a snack or a meal. ”

“It’s Showtime!”

Still from Voodoo Man (1944)1944 babes are disappearing along Laurel Road after stopping at Nicholas’ gas station. Nicholas (George Zucco) is in cahoots with the henchmen Toby () and Grego (Pat McKee) who in turn work for crazy doc Marlow (Bela). Doc has a wife who has been a zombie for twenty plus years and he believes, if he gets the right girl, that a voodoo ceremony will unzombify his beloved. Toby and Grego are, ahem, a tad feebleminded, which makes Doc’s job harder. There’s a also a pesky fiancee and some really cool voodoo robes. There isn’t scare one, but it’s a tacky variation of The Corpse Vanishes and has the good sense to be even more senseless.

Although The Corpse Vanishes ( directed by Wallace Fox) was made in 1942, it was double billed two years later for the drive-in-circuit with Voodoo Man (directed by ). Both movies are part of Lugosi’s infamous “Monogram Nine.” For the unenlightened, this was a poverty row horror series produced by Sam Katzmann, starring the already faded Dracula actor in some of the most inept movies made. Voodoo Man is the last of the infamous Monogram Nine.

“Please remember to replace the speaker on the mast when you leave the theater. Thanks for being with us this evening. We hope that in some small way we have been able to add to your comfort, pleasure, and relaxation.”

Both films are available on a Legends double feature DVD with vintage drive-in ads, trailers, and countdowns. Olive Films has recently released Voodoo Man on Blu-ray in a pristine transfer.

 

SPARROWS (1926)

defied all odds in becoming the defining cult figure in early cinema, despite the fact that her brief stardom was as an American actress in European films. Although Brooks lacked initial recognition, she  was far more contemporary and provocative than established stars such as Gloria Swanson, Greta Garbo, and Marlene Dietrich.

Known as “America’s Sweetheart”, Mary Pickford was the female superstar of the silent era. She was huge box office, married the swashbuckling matinée idol Douglas Fairbanks (theirs was the first Hollywood celebrity wedding) and together they built their famous mansion PickFair. Astutely, Pickford learned the business of filmmaking: editing, cinematography, lighting and production. She was the first woman to form her own production company and, later, with Fairbanks and , she built the mega studio United Artists. She was one of the founders of  the Academy of Motion Picture Arts and Sciences. While politicos were battling over woman’s right to vote, Pickford’s voice was such an influential one that the Academy awarded her what was perhaps an undeserved Oscar for her first talking performance in the wretched Coquette (1929). Pickford and Fairbanks were Hollywood Royalty, wining and dining the famous, from Albert Einstein to H.G. Welles. Alas, royalty has its price. Coquette flopped at the box office. With the advent of sound the public wanted new faces, and because of their “royalty” status, Pickford and Fairbanks were seen as the old establishment. Although Pickford had an exceptionally fine voice, her career, along with that of her husband’s, came to an end. Still, even in reclusive retirement, Mary Pickford was treated as a pioneering queen of Hollywood, receiving numerous accolades  and tributes while the outsider Louise Brooks went through winters of extreme poverty. Today, Mary Pickford is virtually forgotten and Brooks is remembered. There are plenty of reasons for this.

Pickford’s virginal child persona dates her. The bulk of her films are heart-on-sleeve rudimentary melodramas, soaked in so much religiosity that they make saccharine contemporary fare like “7th Heaven” or “Highway to Heaven” look like cutting edge dramas. Pickford herself doubted the value of her films after she retired, and left instructions for her work to be destroyed. Thankfully, this wish was not carried out (although her films were kept out of circulation until the DVD age). Despite the Victorian halo, Pickford’s screen persona is a curiously bewitching one, due to its archaic, ethereal nature coupled with an irresistibly delicate feistiness. Her mastery of comedy and drama in the pantomime form, her finger on the pulse of Americana, and her thematic sympathy for the less affluent adds to her appeal.

Sparrows (1926) was Pickford’s last role in her child persona. It’s also her most compelling film. The religiosity is there, but it is so audacious as to be startling. Amazingly, William Beaudine directed. Beaudine later became known as “One-Shot Beaudine” because of his penchant for shooting single takes in poverty row programmers. Although he was one of Hollywood’s most prolific directors, with over 400 films to his credit, the bulk of these were “penny dreadfuls.” For all the sympathy fans have for  suffering under an amateur Ed Wood, poor Bela was not a stranger to slumming it in One-Shot films like Ape Man (1943-Lugosi’s most embarrassing project), Ghosts on the Loose (1943), and Voodoo Man (1944).

Beaudine’s presence makes Sparrows all the more surprising. Pickford and Beaudine had worked together previously in Little Annie Roonie (1925), which was an unremarkable box office hit (it had returned Pickford to her irascible waif persona after several failed attempts to play an adult). Sparrows was produced by Pickford, photographed by her favorite cinematographer Charles Rosher, and written by C. Gardner Sullivan (Hell’s Hinges, Tumbleweed, Sadie Thompson, All Quiet On the Western Front), all of which may explain the film’s being an exception to the general Beaudine rule. However, Sparrows would be Pickford and Beaudine’s final collaboration. The star vowed never to work with Beaudine again after his supposed bad treatment of the children in the cast. Beaudine vehemently denied Pickford’s allegations, claiming she fabricated them for the sake of publicity. Beaudine’s defense is backed by others’ recollections. More than likely, Pickford and Beaudine clashed over artistic control. Art Director Harry Oliver created the stylish swamp, which was merely a few acres on a backlot. Alligators, with wired jaws, were brought in for “dramatic effect.”

Still from Sparrows (1926)In this Dickensian Gothic melodrama, Pickford plays Molly, the oldest of a group of orphans being used for slave labor on a potato farm. Despite being about twenty years too old for the part (!), Pickford pulls it off with plucky perfection. The potato farm is actually a baby farm, with Molly as the self-appointed mother of the brood. Every melodrama needs a good villain. Sparrows has a superb one in Gustav von Seyffertitz as the aptly named hunchbacked baby thief, Grimes. Seyffertitz was a favorite silent era villain and his portrayal here is saturated in mire. When his racket is threatened with exposure, Grimes has no qualms about “chucking them babies in the swamp.” News of Grimes’ plan reaches Molly. A chilling, breath-taking chase scene follows, which probably influenced Charles Laughton’s Night of the Hunter (1955). Molly leads her charges through the bayou, facing gators and quicksand. There is an early casualty amongst the children and none other than Jesus Christ Himself appears to escort the poor lad’s corpse into heaven!

Sparrows is a model of art direction. Every detail counts. It was hailed as a masterpiece by Ernst Lubitsch (who called it one of the eight wonders of the world) and Chaplin (who typically hated Pickford’s films). The late (and much-missed) film historian William K. Everson loudly sang its praises. Everson was rarely off, and he wasn’t here either.

OCTOBER 31ST FRINGE VIEWING LIST

Here’s an alternative seasonal viewing list for the weird, that goes beyond the usual vampire/zombie/demon/slasher fare (although some favorite characters make appearances).

1. Matthew Barney’s Cremaster Cycle 3 (2002) . Only the third of Barney’s epic Cremaster Cycle, made over an eight year period, has made it’s way to any type of video release, which is criminally unfortunate. The Guggenheim Museum, who financed it, exhibits the Cycle and describes it as a  “a self-enclosed aesthetic system consisting of five feature-length films that explore the processes of creation.”  Trailers are available on the Cremaster website; www.cremaster.net. The third movie is available via Amazon and other outlets, albeit at expensive prices [Ed. Note: the version of Cremaster 3 that’s commercially available is not actually the full movie, but a 30 minute excerpt that’s still highly collectible as the only Cremaster footage released].  The Cremaster Cycle is complex, challenging, provocative and not for the attention span-challenged.

Still from Dracula: Pages from a Virgin's Diary (2002)2. Guy Maddin‘s Dracula-Pages from a Virgin’s Diary (2002). Guy’s Dracula ballet, choreographed to Mahler.  Just when you though nothing more could be done with this old, old story.  Of course, we are talking Mr. Maddin here.

3. Ingmar Bergman’s Hour of the Wolf (1968). Bergman’s ode to German Expressionism has been labeled his sole horror film. Hour is a further continuation of frequent Bergman themes—the defeated artist, loss of God, nihilism—and stars Bergman regular Max Von Sydow.  Some find this dull and slow, others find it mesmerizing and nightmarish.

4. Roman Polanski‘s The Tenant (1976) returned this consummate craftsman back to the territory of Repulsion and remains one of his best films.  Polanski is now facing extradition charges for having sexual relations with a willing, underage girl thirty years Continue reading OCTOBER 31ST FRINGE VIEWING LIST