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The Devil's Hand

June 4th 2010 03:58
Title: The Devil's Hand
Year Of Release: 1962
Running Time: 71 minutes
Directed By: William J. Hole Jr
Writing Credits: Jo Heims
Starring: Linda Christian, Robert Alda, Ariadna Welter, Neil Hamilton
Taglines: This is the hand of terror - it struck with savage fury - killing all that crossed its path!

The tagline of this early sixties b-grader would lead one to believe that the movie is about a killer hand, perhaps one akin to that in THE BEAST WITH FIVE FINGERS. As is often the case, the tagline has little relevance to the actual plot of the film which is centred around a voodoo cult operating in a modern American city. Strangely enough, the male lead, Robert Alda, had appeared in the 1946 BEAST WITH FIVE FINGERS. Maybe that was the reason they gave this film the tagline, but more likely it was just something the producers made up to hook viewers.

Written by Jo Heims, who would go on to write PLAY MISTY FOR ME and DIRTY HARRY, this is not a bad little horror movie. As one who who always been a sucker for plots about devil-worshipping cults, I was pleased to get a chance to see it. The director, William J. Hole, had directed a lot of TV in the early sixties for different series from CHEYENNE to 77 SUNSET STRIP and acquits himself reasonably well in this foray into horror and occultism.

Rick Turner, played by Alda, is engaged to Donna Trent, played by Ariadna Welter, but dreams every night of a beautiful blonde who appears to him as a heavenly vision in a veil of clouds. One day he wanders past the window of a doll shop and goes in, only to find that one of the dolls looks exactly like his dream-woman.There is some business about how he supposedly ordered a doll in the likeness of his fiance but Turner remembers nothing of it. Eventually Francis Lamont, the doll-shop owner, reveals that the dream-woman whose doll is in his shop is Bianca Milan, played by Linda Christian. BATMAN fans will enjoy seeing the role of Lamont, for Neil Hamilton acted the role of Commissioner Gordon in the 1960's Adam West BATMAN series.

Bianca is a witch who uses voodoo to project herself into Turner's dreams (she has a doll in his image). She uses her witchcraft to lure Turner away from Donna, who is admitted to hospital with a condition caused by Lamont's having poked her doll with a voodoo pin. She then sways Turner into joining the voodoo cult which has headquarters below Lamont's doll shop. Lamont is the "High Executioner" who runs the cult devoted to "Gamba , the Devil-god of evil" (!). The straight-looking cultists (clad in suits and ties) sit around on cushions in a reasonably elaborate temple with velvet hangings and tall flaming braziers while Lamont holds forth about Gamba, testing various cult members' loyalty via means of a sort of wheel of death Russian roulette - a wheel which lowers down onto the altar and which has one real killing knife and various fake ones. The temple has some resident black (possibly Caribbean) bongo players and dancers who add to the exotic atmosphere.

A subplot involves a journalist who has penetrated the cult. Later in the movie the journalist conveniently drops a note revealing that he will be writing an expose on the cult, which Lamont, clad in his "High Executioner" ritual dressing gown, reads, and the journalist is voodooed to death - his car is made to run off the road.

Ariadna Welter has little to do in the film, as she is confined to her hospital bed for most of the plot. Turner, who is totally under the influence of the glamorous Bianca, seems to forget all about his fiance. But towards the end, after he pulls the pin out of her voodoo doll, she is released from hospital and at that point he escapes the influence of Bianca and rescues Donna. In the action scene in the temple at the end, there is (of course) a brazier knocked over which sets the place on fire - why does every horror film have to end with a fiery conflagration?

It's worth seeing the movie for Linda Christian, who is rather stunning as she floats about her apartment in diaphanous witchy gowns seducing Turner, and offering him drinks which he says "taste like devil's brew". While the Gamba cultists seem to have no actual purpose beyond worshipping their dark god, and punishing members who betray their secrets, this is a fairly entertaining little occult thriller, well worth a look. OK, it's not THE DEVIL RIDES OUT or ROSEMARY'S BABY or TO THE DEVIL A DAUGHTER, but it's of their ilk, and an interesting example of the occult horror subgenre.




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The Devil's Partner

June 3rd 2010 04:25
Title: The Devil's Partner
Year Of Release: 1962 (filmed in 1958)
Running Time: 73 minutes
Directed By: Charles R. Rondeau
Writing Credits: Stanley Clements & Laura Jean Mathews
Starring: Ed Nelson, Edgar Buchanan, Jean Allison, Richard Crane
Taglines:
1. Half man, half beast--he sold his soul for passion!


Most of my reference books on horror film make no mention of this minor b-grader lensed in 1958. It's not such a bad movie and I thought it would be covered on a guide like the PSYCHOTRONIC GUIDE or in the AURUM ENCYCLOPEDIA OF HORROR FILM, but I guess the books can't cover everything.
Poster for THE DEVIL'S PARTNER


This film is one of those which falls just this side of cheesy. It's not so bad as to be irredeemably awful, and it's not so good as to be an underground classic. It has some intriguing plot ideas but by the time you get to the end you realise that it didn't fulfill its full potential.

The first thing to say about it is that the stunning colour poster with a half-man half-horse centaur-like creature with a possibly naked flame-brand wielding woman clutching on behind does not occur anywhere in the movie and is a typical hyperbolic misrepresentation of the film's content. THE DEVIL'S PARTNER is shot in black and white.

The promising part of the premise is that the story opens with a hunched old man, Pete Jensen, who lives in a shack in the town of Furnace Flats. He is like something out of Lovecraft's "The Picture in the House". He slaughters a goat and daubs its blood within a pentagon drawn on the floor of his shack. (This is a bit weird, as everyone knows that the pentagram is more often used in ritual magic, and if a six-sided figure was to be used, it would usually be a six-pointed star - that is, a hexagram - not a hexagon. But let it pass. The makers do a fairly good job of suggesting ancient evil and hideous rites in the offing).

The problematic part of the rest of the film is that it plods thereafter and is relatively predictable. A young man, Nick Richards, comes to town, claiming that the old tramp was his uncle. Everyone notices that even though it's incredibly hot, the young man doesn't so much as have a drop of sweat on him. Halfway through the movie there's a rather laughable scene where one of the characters questions him about this and he confesses, joking: "I'm the Devil. It's pretty hot down there, so I've come up here for a vacation." Of course, this is the real hinge of the plot.

The Devil proceeds to run a gas station which he uses as a base to do some petty interfering in the lives of a few locals, driving a wedge between Nell Lucas and David Simpson after Simpson's dog attacks him and mauls his face. We get suspicious that Nick Simpson is behind all this, and further animal-related incidents occur - for instance, a local drunk is trampled by a horse, and a rattler gets in to attack Simpson in his bedroom.

The local sheriff and doctor are as slow as all get-out in understanding what is going on. Even when the sheriff goes to the shack and finds a buried goat (dug up by his terrier!) he doesn't join the dots and suspect Nick Richards. Fans of the TV sitcom Petticoat Junction may find a minor fillip of enjoyment in the Doc Lucas, who is played by Ed Buchanan (Uncle Joe on Petticoat Junction).

The film is quite talky, with static photography, low-budget sets and so on and seems almost like an extended TV episode. There is only just enough intrigue and coherence in the plot to make it worth continuing to watch, but there are no hilariously bad lines. In fact, the acting is quite decent. It's only the plot that lets it down in the end, as no real explanation is given for why the old man should have transformed into the devilish young Nick.

Ultimately, Nick dies and transforms back into his human shape, having had it revealed that he was behind the various animal-inflicted maulings and killings. At this point, David Simpson's facial wound miraculously disappears and the film ends on a happy note with the townsfolk characters standing over Nick's body in a field.

THE DEVIL'S PARTNER could have been a really imaginative occult thriller, but instead it's a fairly humdrum one. Despite the complete absence of gore, there is some good atmosphere. Worth checking out for completists.
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The Haunted Strangler

June 3rd 2010 03:03
When I was growing up in Newcastle NSW, many of my high school years were spent with horror films, but it was the era of the Hammer movies such as SCARS OF DRACULA and HORROR OF FRANKENSTEIN. I loved those movies and still do. But I had missed many earlier horror movies from the 40s, 50s and 60s and these days it's interesting to go back and track them down.

Boris Karloff is generally regarded as one of the grand old men of the horror cinema by buffs, but of course in these days of fast-paced action and Hollywood movies dominated by explosions, CGI and rapid-cut editing, the style of horror film represented by Karloff is hopelessly old-fashioned to most modern viewers.

But there's still an effectiveness in some of the old black and white horror movies. I had seen FRANKENSTEIN when in my teens, and some of Karloff's other later movies (for instance, DIE MONSTER DIE, a fairly lame version of H.P. Lovecraft's "Colour Out of Space"). Many years ago I saw an early Karloff, CORRIDORS OF BLOOD, in which he impressed me (out of his Frankenstien's monster makeup) as an actor of sophisticated nuance and feeling.

Just recently I saw THE HAUNTED STRANGLER (a.k.a. GRIP OF THE STRANGLER), a 1958 movie directed by Robert Day. Apparently this was based on a story called "Stranglehold" which Karloff himself brought to the director, although it was also apparently written specifically for Karloff by screenwriter Jan Read.

THE HAUNTED STRANGLER is well worth checking out. I had feared it might be hopelessly dated, as is BLUEBEARD, another vintage movie about a strangler, but this is a quality production. Although leisurely in pace, the film is lent dignity by the superb black and white photography. Karloff plays James Rankin, a novelist and social reformer who seeks to prove the innocence of a man called Edward Styles, who was hanged twenty years earlier as 'the Haymarket Strangler', the killer of five women. The film is set in the Victorian era.

Karloff discovers that the murder weapon (the women were both strangled and then slashed by a knife) has never been found, and becomes obsessed with finding the weapon. The apparently gentle Karloff is (perhaps predictably) transformed into a psychotic and schizoid half-paralyzed killer when he goes to Newgate Cemetery and in a beautifully shot chiaroscuro scene, manages to retrieve the knife from Styles' coffin and seems to become possessed by it, thereafter committing numerous killings of women associated with the seedy Judas Hole can-can dance club.

The mechanism of his apparent possession by the murderer's knife seems to indicate a supernatural element has come into play. But as the plot unfolds, and he gradually comes to realise that he himself was the original murderer, we realise that in fact it is merely a psychological compulsion which comes over him - he kills when he clutches the knife. This aspect of the plot is never satisfactorily explained, but Karloff's transformed visage is certainly impressively hideous - his twisted lip was achieved by the expedient of removing his dentures, and by biting his lower lip, messing up his hair and twisting his arm into a contorted posture, he achieved (without special makeup) a dramatically chilling appearance, rather like Hyde in the many versions of Dr Jekyll and Mr Hyde.

The last part of the film is curious - Karloff, having realised he is the murderer, vainly attempts to warn all and sundry that he should be imprisoned, but no-one believes him. Ultimately he faces his doom in a way that must be left for the viewer to discover.

The soundtrack to the movie was rather uneven. In parts, it underlines the action effectively, but there is overuse of what may be a Theremin (a musical instrument which created a sliding, quavering note and which was hugely popular in sf and horror films of the fifties).

I certainly found Karloff's performance the best aspect of the movie, as the plot is rather haphazard in places. Karloff was 69 when he made this, and it is one of the superior movies of his later career I believe - as apparently many of the other movies he made in the fities were b-graders. I have yet to discover more about the rest of his output, so I'll cover more of his films here when I do.
Karloff in THE HAUNTED STRANGLER
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Welcome to Screen Shadows

March 19th 2010 03:25
Welcome one and all!

It's Leigh Blackmore here, sometime horror writer and critic. Over the years I have had a fondness for horror films, ranging from the superbly crafted to the enjoyably cheesy. This blog will be about horror on film - its manifestations in the past, and where horror is at in todays' cinema world of 3D, torture porn, and other dubious trends


[ Click here to read more ]
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