I have gotten several requests to do a write up on the new “Nightmare Theater” with Sammy Terry. Despite the requests, I have been reticent for several reasons. The new Nightmare Theater is in the grass roots stage, although whether or not it should be is debatable. After all, Sammy Terry has a fifty year legacy, so it should not be a case of having to compete with the Johnny-come-lately horror hosts, of whom there are far too many of dreadful quality. With his long history, Sammy Terry could be venturing into new territory, rather than reconquering the market of local television, especially since local television really no longer exists.
The first and most glaring problem with contemporary horror hosts is the question of whether they’re needed. In the golden age of horror hosts there were a half dozen or so local television stations, and the video/cable/Internet age was something akin to science fiction. If one wanted to watch James Whale‘s Frankenstein (1931), then you might get the chance to see it once a year via the local host, who, in our case in Indianapolis, was Sammy Terry on WTTV 4. Today, the horror host is simply not a necessity, so in order to entice an audience the host should have interesting personalty, story, and characterization. Today’s hosts simply get up and do their shtick. Often, one questions whether or not they have even watched the hosted film. If the host wants the audience to acknowledge his or her entertainment value, then his enthusiasm needs to be contagious. It rarely is. The host hardly has to have a back story and, indeed, some sense of mystery should be retained. Today’s audience is much more sophisticated; the personality of the host, and his or her ability to make us care, is vital. Instead, contemporary horror hosts can often be seen hawking their wares at various horror conventions, seeming more like used car salesmen than mysterious entities.
Mark Carter is the son of Bob Carter, the original Sammy Terry. Bob has retired and has passed the cape onto Mark, who is a dead ringer for his dad. Mark has an answer for the inevitable question “are you the Son of Sammy Terry?”—a classic “only Sammy’s blood has worn this cape.” Unfortunately, Mark’s ready-made response has yet to be put to use in an actual public interview. Instead, when local news programs interviewed the new Sammy Terry, he broke character when the question arose, which was a misstep.
I fondly reviewed the original Nightmare Theater two years ago, but the primary reason I have been reluctant to do this follow-up is because I have numerous associates working on the Continue reading THE NEW NIGHTMARE THEATER WITH SAMMY TERRY: FIRST IMPRESSIONS (WITH EDISON’S FRANKENSTEIN: 1910)
Here, Bill tries to convince Silky that they can have a normal life. Puppy dogs and small boys begin to have effect on Silky, but it is not until she sees the shadow of the cross in her apartment that her tough facade gives way. Browning is not one to allow for a genuinely supernatural mode of transformation and reveals that the cross shadow is merely a broken kite, but its psychological effect on Silky is manifested in her actions, and her beauty. Bill notices the origin of the cross shadow and, realizing that Silky’s naive interpretation of that image has inspired her to renounce her crimes, Bill allows her to continue in her naivete. He draws the blind so she cannot see that her inspiration comes from a child’s kite. As Silky begins to drift away from a life of bitterness and crime, towards redemption, she physically grows more beautiful (a transformation achieved through soft lighting and composition). It is not the inspired symbology of the cross alone, but the prophecy of Chang Lo that frames the outcome. Chang Lo has been consistent in his belief that Silky will reform and he strikes a deal with the investigating constable that, should Silky return the jewels, all charges have to be dropped. Here again, Browning’s heart is too much with the criminal to allow for a full-blown punishment, something that later Hays Code Hollywood would demand.
Cock Robin is the barker for a Hungarian carnival, dazzling the ladies and bilking them of their hard earned silver. He ushers patrons in to the show with the help of “The Living Hand of Cleopatra,” a disembodied hand akin to Thing from “The Addams Family.” Among Cock’s unholy trio of mutilated-below-the-waist attractions is ‘Zela, the Half Lady.’ “Believe me boys, there are no cold feet here to bother you!” Zela is followed by ‘Arachnadia! The Human Spider!,’ a heavily mascaraed, disembodied head in a web (played 
Years later, Sylvia is a professional pickpocket under the guardianship of Hawkes, who now goes by the new identity of Count Donelli. Sylvia stakes out her victims at the London Wax Museum. There she meets The Kid, who, unknown to her, is her long lost brother, Roy. Roy has his own nefarious gig; the Mechanical Chess Player. When Sylvia introduces the Kid to her “father,” Count Donelli, the three form an unholy alliance, which leads them and the Mechanical Chess Player to a new land of opportunity in America.
