Journey to the Seventh Planet (1962)

Would-be auteur Sidney Pink strikes again, 26 September 2009

Searching for life on another planet, a group of astronauts stumble on a virtual utopia when they arrive on Uranus. "Virtual" being the key word, however, as nothing is real. Uranus is inhabited by a strange creature capable of taking the thoughts of the astronauts and bringing their dreams and desires to life. But this being has plans beyond Uranus that include the conquest of Earth.

Journey to the Seventh Planet is a real mixed bag. Filmed in Denmark by would-be auteur Sidney Pink, Journey to the Seventh Planet has some interesting ideas behind its plot, but it suffers from poor execution. On the positive side, the idea of a creature that uses its victims' thoughts against them as a weapon might not be new, but here it's handled in an interesting manner. I liked the way the creature brings up childhood memories and crushes in an attempt to lull the head astronaut into a false sense of security. Or the way the creature keeps throwing woman after woman at the womanizer played by John Agar. Unfortunately though, the negatives far outweigh these positives. First there's Pink's weak direction. The film suffers from poor pacing and too many scenes with nothing much going on. I blame Pink's direction for making the movie un-fun (if that's a word). Second, there are the terrible special effects. Sometimes when watching a low budget movie like Journey to the Seventh Planet, I'll find the low budget effects charming. Not here. These are just low budget effects. Next, other than Agar, I'm not familiar with any of these Danish actors. But I feel somewhat confident that their anonymity is due to their acting ability and not their nationality. Also, I'm usually a John Agar fan and supporter, but Journey to the Seventh Planet might be one of his weakest performances I've seen. It's way below average for him. Finally, there's the dubbing. I've seen enough foreign genre films that dubbing usually doesn't bother me. But here, it's just weird. Everything seems exaggeratedly slow because of the bizarre sounding dubbing. Really distracting.

So, in summary – a few good ideas undone by poor production values, weak direction, below par acting, and lousy dubbing. A 4/10 is about the best I can give Journey to the Seventh Planet.

4/10

The Pirates of Blood River (1962)

Pirates without a ship?, 13 September 2009

Pirates of Blood River has to be the only pirate movie I can remember watching that takes place entirely on land. Okay, there is a shot of a random ship at sea, but that's it – no raising the sails, no skull and cross bones atop a mast, no walking the plank, no cannons firing at the King's galley, no shark infested waters, etc. I suppose you could argue that some of the action does take place in a river, but to my way of thinking, a four foot deep spit of water that the cast spends less than five minutes in hardly qualifies. This being Hammer, it's a pretty safe bet that a full-fledged pirate ship would have cost more coin than the studio was willing to put up. However, even if these aren't your traditional pirates, that doesn't mean the movie isn't enjoyable, because I had quite a good time with it. Screenwriters John Hunter and John Gilling have thrown just about everything you can think of into the movie. The plot is all over the place and never gets old or tiring. The story involves a band of pirates that attack a Puritan-like village in search of gold. In addition to this rather simple outline, the movie includes a hard labor penal colony complete with emaciated old guys with sledge hammers and wagon loads of rock, a river full of piranha, a father who finds his son guilty of adultery and all but condemns him to death, two pirates fighting with swords while blindfolded, and a series of booby traps the villagers spring on the pirates. Gilling, who is also the director, keeps things moving at a nice pace. It's a lot of fun from start to finish. The cast is first rate – in fact, it's one of the best casts Hammer ever assembled, especially given the film's modest budget. Christopher Lee is as menacing as ever in the role of pirate chief LaRoche. I really got a kick out of his French accent. Kerwin Matthews is the male lead on the good guys side. He's more than capable in the role. Badass Oliver Reed is also on hand, though his role is limited. Also in the cast are Hammer regulars Andrew Keir and Michael Ripper, James Bond regular Desmond Llewelyn, Glen Corbett (easily the weakest link in the cast), Peter Arne, Marla Landi and other recognizable faces. Overall, Pirates of Blood River is miles from Hammer's normal output, but in this case, that's not such a bad thing. I'll give it a 7/10.

7/10

Bachelor Flat (1962)

Terry-Thomas - Babe Magnet, 9 May 2009

There's something about the innocence of these early-to-mid 60s comedies that I find enjoyable. These movies aren't as jaded as today's so called comedies, relying on comedy, writing, and the talent of the actors. I'm sure that there are situations in Bachelor Flat that someone in 1962 might have found scandalous, but today I can't imagine anyone batting an eye at the film. Maybe I'm getting old, but in a way I really miss these movies.

The plot of Bachelor Flat finds the very British Terry-Thomas playing an anthropologist named Professor Patterson at a California university. For whatever reason, the women in his life are drawn to him like flies to sugar. He's a babe magnet! This set-up creates quit a few comedic moments as young and old women alike throw themselves at the good professor. Things really get complicated when the 17 year-old daughter of his fiancé (of whom he's unaware – the daughter, not the fiancé) suddenly shows up at the doorstep of the house he rents from his bride to be.

At its worst, Bachelor Flat is a harmless enough diversion. It might not be the best or funniest movie I've ever seen, but I was entertained throughout most of the 91 minute runtime. At its best, watching the stiff, very British Terry-Thomas deal with the multitude of women he finds mysteriously attracted to him is often quite funny. But this is also the film's biggest weakness. Terry-Thomas is best at playing the scheming, conniving villainous role. Being the object of desire to a string of attractive women just doesn't seem right. He's okay in the role, just not a very good casting decision in my opinion. Then again, maybe that's what the people behind Bachelor Flat were going for – playing Terry-Thomas against stereotype. If that's the case, they succeeded beyond their wildest dreams.

6/10

Sherlock Holmes and the Deadly Necklace (1962)

- Sherlock Holmes und das Halsband des Todes
The German Sherlock Holmes, 29 February 2008

On paper, Sherlock Holmes and the Deadly Necklace looks like a sure fired winner. Christopher Lee as Holmes, Thorley Walters (who I swear seemed to be channeling Nigel Bruce at times) as Watson, the capable Terence Fisher directing, and Curt Siodmak writing the screenplay, - what could go wrong? It might have been great had the people behind this German/Italian/French co-production not messed with the script and hired a German co-director. The end result is middling at best. Even though the movie may be enjoyable at times, it bears little resemblance to the real Sherlock Holmes. Lee has described it as a "mess". As he put it in an interview, "It was a hodge-podge of stories put together by the German producers which ruined it".

In the movie, Holmes is once again hot on the trail of Moriarty. Holmes feels Moriarty is responsible for two recent murders related to a necklace believed to have once been the property of Cleopatra. Through disguise and trickery, Holmes will attempt to reclaim the necklace and put a stop to Moriarty's nefarious scheme.

The best part of Sherlock Holmes and the Deadly Necklace is easily the cast. Lee and Walters are both as good as you might expect. However, I'm not sure what brainiac decided not to hire either man to dub their own voice, but it was a huge, distracting mistake. The supporting cast is populated by a few familiar faces including the lovely (but terribly underused) Senta Berger and Leon Askin (known to most people as General Burkhalter on "Hogan's Heroes"). But Hans Sohnker, unknown to me before watching Sherlock Holmes and the Deadly Necklace, as Moriarty is the real standout. He goes toe to toe with Lee and comes out looking quite good.

If you're a fan of Sherlock Holmes, there may be some curiosity value to this movie. Or, if you're a Chirstopher Lee completist, it's worth checking out. Otherwise, skip it.

5/10

Ring of Terror (1962)

In short, it's a disaster., 3 July 2007

Lewis B. Moffitt is a medical student who seems to have it all. But what many don't know is that Lewis has an irrational but deep-seeded fear of the dark. He came by his fear quite honestly following his grandfather's wake which was held in his family's home. His mother (in a failed attempt to win "Mother of the Year") threatened Lewis that his dead grandfather would return from the dead to do him harm if he didn't go to bed! Well, as part of his fraternity initiation, Lewis has to sneak into a mausoleum to retrieve the ring from the cadaver the young med students had earlier seen autopsied. Of course Lewis has to do this at night – in the dark – of which he's deathly afraid. You get the idea.

Ring of Terror is the kind of movie that could have better been told as something like a Twilight Zone episode. There's nowhere near enough material to fill even the comparatively short 71 minute runtime. But the makers of the movie seem content to pad the film with something akin to one of those 1950s era educational films on dating with names like "Dating: Do's and Don'ts" or "Choosing Your Marriage Partner". Ring of Terror has that kind of "realism" and "excitement".

Getting past the padding to the rest of Ring of Terror: the acting is bad; the actors are far too old to be convincing in their roles; the movie relies on too many "fat" jokes; the ending is predictable after 5 minutes of the movie; and the opening and closing bits that sandwich the "action" are annoying. In short, it's a disaster.

But as bad a movie as Ring of Terror is, it makes for a very entertaining episode of MST3K. I found myself laughing out loud on more than one occasion. So while I may only rate the movie a 2/10, Ring of Terror gets a 4/5 on my MST3K rating scale.

2/10

Eegah (1962)

"You're funny, Mr. Miller. Really funny.", 5 June 2007

On her way to a rendezvous with her boyfriend, Roxy Miller (played by 30-something teenager Marilyn Manning) quite literally runs into a 7 foot tall caveman. Luckily for Roxy, the giant makes a hasty retreat as another car approaches. Roxy shares her story with her boyfriend and her father. They find it tough to swallow, but agree to help Roxy look around in the desert for her mysterious giant. Was she just seeing things or was there really a giant in the desert? Roxy's father is soon convinced when he's taken prisoner by the giant he nicknames Eegah. But Eegah's a lonely guy and he's got his sights set on Roxy. It seems that since his run-in with her, Eegah's smitten. Can a centuries old caveman and a modern day girl find happiness?

There are any number of reviews of Eegah that can be found on the internet and almost every one of them makes the movie sound like the second coming of Manos. Maybe there's something weird about me, but in a surreal way I found Eegah a compelling and (as strange as this may be) a moving look at a lonely soul. As bizarre as it may sound, I actually felt something for the big, misunderstood brute. And in a completely odd way, the ending of the film is as sad a sight as I've seen in a movie in a while (that probably has more to do with the movie's I've been watching recently than this movies ability to elicit any real emotion). As strange as this may sound, much of Eegah actually worked for me. But that's not to say Eegah is a good movie or anything, because it's not. Much of the acting is bad, the dialogue is silly, Arch Hall's singing is nauseating, and the production values are dirt cheap. Besides, any movie that features a cameo from Ray Dennis Steckler can't be that good.

As expected, Eegah makes for a very good MST3K episode. Among the highlights are the riffs directed at Arch Hall, Jr. Hall makes a perfect target and the guys take every opportunity to lay it on. Good job! On my MST3K rating scale, I give this episode a 4/5 – An episode worth seeking out.

4/10

The Phantom of the Opera (1962)

"And when you sing, Christine, you will be singing only... for me.", 1 April 2007

Almost every movie fan knows the story – an opera house is beset with problems as a new production is set to open. At first it's strange, annoying occurrences like missing music or damaged instruments. But it goes beyond mere annoyance when a stagehand is murdered. What evil force is behind this series of events?

As a fan of Hammer, there's a lot here to enjoy. The first thing I always notice, and it's hard not to, is the film's "look". Hammer made some wonderful looking movies and The Phantom of the Opera just might be at the top of that list. Beautiful is the way I would describe it. The colors, the sets, and the costumes are so incredibly pleasing to the eye. Everything from the rich burgundy curtains on the opera stage to the simple, but effective mask worn by the Phantom are perfect. You could spend three times the budget of The Phantom of the Opera and not come up with something that looks this good.

Terence Fisher directed some of Hammer's best films. And his work on The Phantom of the Opera is among his best. I've read complaints that Fisher lacked imagination and was, at best, a workmanlike director who was lucky to be "in the right place at the right time". With The Phantom of the Opera, Fisher shows more artistic touches and allows the camera to be more fluid than at any time I can remember. Fisher was aided by an impressive cast. Other than Heather Sears in the female lead, the acting is solid. Edward de Souza, Thorley Walters, and Herbert Lom are all great in their respective roles. But, as usual and as expected, Michael Gough as Lord Ambrose d"Arcy steals every scene in which he appears. He's just so deliciously evil and over-the-top.

There are several little moments in The Phantom of the Opera that make it special. Scenes like those involving the rat catcher or the opera house cleaning women might seem like throwaway moments, but they help add life and interest to the film. Or the dinner scene when Sears character turns down d'Arcy's advances. The look of contempt on Gough's face as he stalks out of the restaurant is priceless. Very well done!

In the end, while there have been any number of versions of The Phantom of the Opera made over the years, Hammer's version is my favorite. It's definitely a movie that any Hammer fan or anyone interested in learning about Hammer should see.

7/10

The Witch's Mirror (1962)

- El espejo de la bruja
Old-school, slow-burn, atmospheric horror, 25 July 2006

The Witch's Mirror is a veritable cornucopia of horror themes. Over the years, I've seen a number of very promising films ruined by an overly ambitious screenplay that tries to throw everything but the kitchen sink into the plot. Fortunately, The Witch's Mirror defies the odds and most of varied plot elements work. The movie is sort of a mixture of an Italian Gothic ghost story (like Riccardo Freda's The Ghost) and a brilliant surgeon turned mad scientist film (like Georges Franju's Eyes Without a Face) with a dash of grave robbing and devil worshipping. The fact that director Chano Urueta was able to combine all of these elements into an entertaining movie and effectively keep distractive plot holes to a minimum is amazing. As my examples would seem to indicate, while The Witch's Mirror is a Mexican made film, it has a definite European feel to it. And like its European counterparts, Urueta was able to effectively fill The Witch's Mirror with atmosphere to burn. If you're looking for that old-school, slow-burn, atmospheric type of horror, you can't go wrong with The Witch's Mirror.

7/10

Combat! "Lost Sheep, Lost Shepherd" #1.3 (1962)

The "Priest with a Problem" didn't work for me, 28 June 2006

I haven't seen many episodes of Combat! yet, but of the handful I have seen, this is my least favorite. After a prolonged sequence of stock war footage, the episode gets off to a good start. The guys walking down the road and running into a squad of Nazis was quite exciting. But things go downhill from there, especially when Jeff Hunter shows up. I never bought his "Priest with a Problem". It just didn't seem real. And once the guys reach the village, things grind to a halt. Nothing happens. And how convenient was it that Caje, the only French speaker in the bunch, wasn't with them when they needed someone to speak to the French priest?

Overall, I've enjoyed my experiences thus far with Combat. I just hope I don't run into any more episodes like this one.

5/10

Hell Is for Heroes (1962)

"I drink to you, and to the American Army.", 25 June 2006

Hell is for Heroes is the story of a squad of six men who have been asked to hold a line usually occupied by an entire company. It's as gritty and realistic as you'll find in an older black and white WWII movie. It's not filled with sentimentality or overly patriotic speeches or soldiers on leave and in love. It's about combat and action. It's claustrophobic, dirty, and frightening. The men in this movie are only concerned with one thing – getting out alive.

Steve McQueen is terrific as the flawed but hard-nosed solider more at home on the front line killing Nazis than he is any place else. He doesn't speak much, but McQueen expresses more with those eyes than most actors could with a page of dialogue. But Hell is for Heroes is much more than a vehicle for McQueen. He is surrounded by a very able cast. James Coburn (one of my favorites), Bobby Darin, Mike Kellin, and the rest of the cast turn in some outstanding performances. And Bob Newhart shines as the film's comic relief. His shtick is hilarious. Newhart literally steals every scene in which he appears. As good as the action in Hell is for Heroes is, it's these "men" that make the film memorable and outstanding for me.

My lone complaint comes near the end of Hell is for Heroes. As McQueen makes the second effort to blow-up the German bunker, why don't the Germans fire at him? I mean they've mowed down everything else in front of them. So why do the Nazis allow this shot-up, dying G.I. the chance to stagger up to their position, pick up the unexploded charge, and fall into their bunker? It just doesn't make much sense to me.

8/10

The Longest Day (1962)

"John has a long mustache.", 21 June 2006

I've lost count of the number of times I've watched The Longest Day. In my opinion, it's one of the best, most enjoyable films I've ever seen and it rests firmly in my top 25. I look forward to revisiting it each chance I get.

What do I like about The Longest Day? Almost everything. I know the film has its share of detractors who complain about the film's length, the historical inaccuracies, the number of cameos, the "flag waving", or the lack of realistic bloodshed amongst other things. I don't have a problem with any of this. The film's length – not a problem. If anything, I always want more. The historical inaccuracies – not a problem. There's a whole page of goofs listed on IMDb. I'm not a historian and I'm not about to let the fact that someone was carrying the wrong sidearm get in the way of my enjoyment. The number of cameos – not a problem. The only cameo that I feel is unnecessary is the one of Rod Steiger. I enjoy all of the others. The "flag waving" – not a problem. The Allies, of which the U.S.A. was a part, should be proud of their victory in WWII. The lack of realistic bloodshed – not a problem. The carnage depicted in Saving Private Ryan may be missing, but the atmosphere and "feeling" are still there.

In short, it's damn near a perfect film as far as I'm concerned.

10/10

Combat! "Any Second Now" #1.4 (1962) (TV)

My second experience with Combat!, 16 June 2006

In this episode of Combat!, Lt. Gil Hanley (Rick Jason) finds himself trapped under rubble in a church. Atop the rubble sits an unexploded bomb. It's up to a burned out British bomb disposal expert with a hatred for Americans to save the day - and Lt. Hanley.

The only thing I've got to compare "Any Second Now" with is "A Day in June", the only other episode of Combat! I've seen. So, that's just what I'll do - compare the two. "Any Second Now" doesn't fair well. Where "A Day in June" featured an interesting band of guys, each with a chance for some screen time, "Any Second Now" focuses on one of the shows two leads, Jason's Lt. Hanley. And this episode suffers from it. Yes, this episode is well written and contains some decent drama (although it's predictable drama), but without the other characters, the fun is gone. I missed the guys. Even co-star Vic Morrow is only around for a couple of thankless moments.

I'm not saying it's bad, it's just not as good as the "A Day in June". I just hope that the rest of the episodes are more like "A Day in June" and less like "Any Second Now".

6/10

Combat! "A Day in June" #1.11 (1962) (TV)

My first experience with Combat!, 16 June 2006

Combat! originally aired the year before I was born. Over the years, I somehow never had the opportunity to see show, so this was my first experience. I'm glad the DVD set begins with "A Day in June" as the first episode. The story of how the guys went through D-Day and on to their first mission seems to be a good starting point. While you could pick at the show's lack of realistic action or the absence of blood or the fact that the Germans are treated as little more than stiffs, but these weaknesses are more than offset by the positives. Good acting, intelligent writing, and likable characters make Combat! and the episode "A Day in June" a winner.

8/10

Gladiators 7 (1962)

- I sette gladiatori
If you've seen either Seven Samurai or The Magnificent Seven, the plot of Gladiators 7 should seem familiar., 29 May 2006

If you've seen either Seven Samurai or The Magnificent Seven, the plot of Gladiators 7 should seem familiar. Gladiators 7 is the Italian/Peplum take on this winning formula. To help him avenge his father's death, Darius (Richard Harrison) rounds up six of his gladiator buddies. They train together, laugh together, and fight together with defeating a much larger and better armed force as their ultimate goal. As I said, it's not very original, but that's just part of the problem. The biggest issue I have with Gladiators 7 is with its lead, Richard Harrison. He's so unappealing that I could have cared less about what happened to him. He's dull and incredibly hard to root for. A few original twists to the plot and a different actor playing the film's main character might have made Gladiators 7 a good movie.

4/10

The Secret of the Red Orchid (1962)

- Das Rätsel der roten Orchidee
Lee, Hoven, Kinski, and Mell in the same movie! It's a Euro-film lovers dream!, 22 April 2006

A series of wealthy individuals are being blackmailed throughout England. It's either pay up or die. Two different Chicago gangs are believed to be behind the blackmail schemes, but the police are unable to gather enough evidence to put them out of business. It's up to Scotland Yard Inspector Weston (Adrian Hoven) and the FBI's Captain Allerman (Christopher Lee) to put the bad guys behind bars.

The Secret of the Red Orchid is an interesting mix of comedy and crime. There's probably more comedy in this Krimi than I've seen in my limited experience with these movies and, fortunately, some of it works. Eddi Arnett's "Butler of Death" is a character that could have been really annoying in lesser hands. The rest of the cast is just as capable. In addition to Lee and Hoven, the film also features genre legend Klaus Kinski as mob boss head Gunner Steve and the always delightful Marisa Mell in an early role. Lee, Hoven, Kinski, and Mell in the same movie! It's a Euro-film lovers dream!

On the downside, there are plot holes big enough to drive a truck through. Why does it take the police so long to catch the blackmailers? They know right from the start who is responsible for the killings. Another big problem with the film is the dubbing. Lee's dubbing is horrible. He sounds as flat as can be. And the dubbing of the gangsters has them sounding like a bunch of cartoon characters. The poor dubbing certainly takes away from the enjoyment of the film.

6/10

Experiment in Terror (1962)

A very pleasant surprise from Blake Edwards, 12 April 2006

Before watching Experiment in Terror, like most people, I associated Blake Edwards with films like The Pink Panther, Breakfast at Tiffany's, and S.O.B. And while those are all fine films, they share a common thread in that they are all fairly "light" entertainment. That's not the case with Edwards' Experiment in Terror. In contrast to the other films I've mentioned, Experiment in Terror is an entertaining thriller with some nice, tense moments and at least one "edge of your seat" scene. The whole thing was a very unexpected surprise.

The opening scene is amazing. A woman arrives home at night and parks in her garage. As she gets out of her car, the garage door closes on its own (remember, this was before garage door openers). As frightened as the woman initially appears, its nothing compared to what happens next. Out of the dark, a pair of hands grabs her from behind. A threatening voice tells her that she is being watched and followed and if she doesn't do as instructed, she and her sister will be killed. The voice tells her that she is to rob a bank. She's further instructed not to contact the police as that will mean a certain death.

In addition to the moments such as I've described, the movie has a noirish quality to it that I thoroughly enjoyed. Experiment in Terror, for lack of a real description, looks great. Filmed in black and white, it's a throwback of sorts to the thrillers of the previous decade. Edwards' direction is spot on and he takes full advantage of most of the sets, lighting, and cast at his disposal. Technically, the film is near flawless. All of the actors do a more than adequate job with their performances. Overall, it's a quality little thriller that deserves a wider audience.

However good or much I enjoyed Experiment in Terror, it does have one glaring weakness. The film runs a little long and there are several scenes and subplots that could have been edited out altogether without hurting the plot. The best examples I can think of are the scenes dealing with the Asian woman and her sick son. While these scenes don't necessarily feel like padding, the film would have been just as good and a little tighter without them.

8/10

The Magic Sword (1962)

Time has not been kind, 24 March 2006

Having recently re-watched The Magic Sword for the first time in 30 or so years, I understand why it once appealed to me. Knights, monsters, magicians, curses, and a quest are things that would have appealed to a boy growing up when I did. Looking back on the film, I no longer find the same enjoyment I once did. It's as cheaply made as anything Bert I. Gordon had his hand in. The special effects are laughable, most of the acting is terrible, the dialogue is inane, and the plot twists are utterly predictable. The one saving grace I can found now is Basil Rathbone. His performance is on a level far above the rest of The Magic Sword. It's too bad he's got nothing to say or do that equals his abilities.

3/10

Ride the High Country (1962)

"I hate to get married with one of my brothers smellin' bad enough to gag a dog off a Gut Wagon.", 21 March 2006

It's all but impossible to watch Ride the High Country and not be impressed with Randolph Scott and Joel McCrea. Scott and McCrea are two aging "cowboy" types who have been asked to guard a shipment of gold from the mine into town. While McCrea sees this as just another paying job, Scott sees it as an opportunity for a big score and to get what he feels he deserves. Scott and McCrea make a great pair. They bring dignity, honor, and class to their characters and to the whole film. They are naturals and appear very much at ease. I've never been much for older Westerns, but after watching this pair of fine actors, I realize I need to visit some of their earlier films.

Compared with some of Peckinpah's other films, Ride the High Country is a simpler, more intimate work. Even though it's not as violent and sprawling as his better known The Wild Bunch, the two films share some common themes (themes explored in some of Peckinpah's other films as well). Both films deal with the end of the Old West and how this change affects those who have known nothing else. The outlaws in The Wild Bunch face it head on - walking into a barrage of bullets. The lawmen in Ride the High Country face their uncertain future in a similar manner - walking into a barrage of bullets (albeit, on a smaller scale). Be they outlaw or lawman, the end of the "cowboy" era represents such uncertainty that neither is quite prepared to face it. Where The Wild Bunch is wild, brash, and over-the-top, Ride the High Country is controlled and deliberate. In either case, the outcome is very nearly the same. It's a masterful job by Peckinpah of portraying the same notion in two completely different styles.

In the end, Ride the High Country may never make it to the top of the list of my favorite Sam Peckinpah films, but it's a solid effort that I'm glad to have "discovered".

8/10

King Kong vs. Godzilla (1962)

- Kingu Kongu tai Gojira
"You two are going to Farro Island and find me a genuine monster whether he exists or not!", 4 January 2006

Godzilla has escaped his icy prison and is making a beeline for Japan. No one seems to be capable of stopping his progress. In comes an enterprising businessman, Mr. Tako, who has heard rumors of a large monster on a nearby island. His plan is to have a couple of his men go to the island to get this giant beast and use it against Godzilla. The two men find the Farro Island and King Kong. Can Kong stop Godzilla, or will he also become a threat to Japan much like Godzilla?

Please note that my rating is based on the American version of the film. I would really like to see the original Japanese version and may seek it out. From what I've read, the American version cuts a lot of the comedy, especially from Mr. Tako, and inserts the U.N. television reports. Mr. Tako is the highlight of the movie for me, and more Mr. Tako would seem to only make things better. He's hilarious. The U.N. news reports are totally unnecessary. The announcers do little other than describe the upcoming action which the viewer is about to see. There's no real point in much of it.

Growing up in the late 60s / early 70s, King Kong vs. Godzilla was standard afternoon television viewing on one of the local channels. I seem to remember it playing a few times each year. And each time I couldn't wait to get home from school to see these two behemoths square off. While I no longer find the final fight scene the most enjoyable part of the movie, it's still one of the best encounters Toho filmed. But the fight scene no longer works for me the way it once did and I no longer consider King Kong vs. Godzilla the best film Toho ever made (for the record, I now go with either Matanga or Rodan).

6/10

The Cabinet of Caligari (1962)

Everything's great, except the plot, 30 December 2005

After her car breaks down, Jane Lindstrom (Glynis Johns) makes her way to the gated home of a man known as Caligari (Dan O'Herlihy). She is invited into the house and, at first, feels comfortable. But when Jane is not allowed to leave the next day, she realizes that, like Caligari's other "guests", she is trapped. Things get even worse when she witnesses Caligari and another man beating an old woman to death. She'll do anything to get out, but how does she ever hope to escape from Caligari's clutches?

This movie might have been a complete dude for me if it weren't for Glynis Johns. For lack of a better word, I'll call her portrayal of Jane Lindstrom "refreshing". She's absolutely atypical of what you would normally expect to find in a movie like this. For the most part, she's meek, mild, mannered, and goes along with what she's told. But when push comes to shove, she's not above abandoning this persona and experimenting with a more brash, sexy personality if it will help her get what she desires. The contrast between the two personalities is fascinating. The rest of the cast is equally enjoyable with O'Herlihy playing the mysterious, cold Caligari perfectly. A group of recognizable character actors, whose names may not be very well known, rounds out the cast.

Don't expect "in your face" horror with The Cabinet of Caligari. It's very subtle. In fact, my rating would be higher but the movie is often too subtle for its own good. There were more than a few instances where I wished something would happen. Too often the plot drags as we see scene after scene of Jane lying around bemoaning her situation. Do something, woman! And while Caligari is a threatening presence, he spends most of his time sitting behind a desk asking seemingly pointless questions. But just when you think things have come to a grinding halt, a scene like the one where Caligari is caught by our heroine spying on her in the bathtub comes along and things pick up for a moment.

Technically, The Cabinet of Caligari is superior to a lot of the other low budget horror of the period. Cinematography and lighting are quite nice. There are some interesting camera shots and lighting choices such as those during Jane's striptease for Caligari. The set design is a real highlight. I was reminded on more than one occasion of the post-modern/deco house in The Black Cat (1934), a real favorite of mine. The house features fabulously designed staircases, corners, and spaces to make most scenes at least look interesting.

Overall, it's too bad the plot couldn't be as interesting, entertaining, or well done as the technical aspects of the film and the acting. Had the plot been better, The Cabinet of Caligari could have been a real winner.

5/10