As a kid in the 1970s, I watched Space: 1999 fairly religiously. And perhaps not entirely unpredictably, I didn’t remember a thing about it other than the uniforms and the Eagle spaceships, the giant toy of which a friend owned and would pit in battle against my Micronauts Hornetroid. As to the actual content of any one episode, however, I drew a persistent blank despite the hours I’d logged watching it during one of its many syndicated Saturday afternoon broadcasts. I had a vague sense of it being sort of heavy, and maybe a little profound, or what passed for profound before the eyes of an eight year old. Despite being a member of the so-branded Star Wars generation, I had as a child and still have as a grown man a deep appreciation for science fiction at its most ponderous, heavy-handed, self-important, earnest, and weird. So when I had a chance, through the magic of an affordable DVD release of the series, to go back and revisit the series — or more accurately, visit it again for the first time, such as the case may be — I was quite excited.
A new Frolic Afield! I’m back on Cultural Gutter writing about the rarity of Jewish horror films. Hebrew Horrors looks at two horror films that are set within the realm of Jewish folklore: 1920’s well-regarded and somewhat controversial Der Golem, and the little-known Yiddish-language horror film The Dybbuk.
I’ve always felt that movies with certain titles have an obligation to live up to those titles. For instance, any movie with a title like The Werewolf and the Yeti needs to be a movie full of scenes where a werewolf fights a yeti or goes drinking with a yeti and raises some hell. If the movie doesn’t live up to that title, then you’ve just ruined humanity’s chances of getting an awesome movie in which a werewolf fights a yeti. So when I first heard that a movie called The Werewolf and the Yeti existed, I was both excited and reticent. Excited because — well, come on. Werewolf versus yeti. Reticent because I couldn’t help but think, “if this movie isn’t any good, then it ruins my chances of seeing the movie a title like The Werewolf and the Yeti deserves.” When, upon further investigation, I discovered that the movie was one of Spanish actor Jacinto Molina’s — aka Paul Naschy — many werewolf movies, I didn’t know whether to let my hopes rise or plummet. Somehow, I ended up letting them do both, and somehow, the movie fulfilled both those suspicions.
During the 1950s, 60s, and even into the 1970s, regional movie houses and drive-ins would often find themselves the temporary homes of traveling Halloween spook shows. Usually staged in conjunction with a series of cheap horror movies, the spook shows were stage events consisting of magicians, bad skits, bad special effects, and a whole lot of Frankenstein masks. In later days, the expected awfulness of such shows was part of the appeal, but int he early days of promising the terror of untold aeons unfolding live before your very eyes, then delivering a guy in a fright wig running down the aisle, the impresarios behind these productions often hot-footed it out of town one step ahead of the angry crowds whose money now stuffed the huckster’s pockets.
New York is one of the oldest cities in the United States, and its most populous. So it’s no surprise that among our eight million residents are more than a few ghosts. Our ancient (well, for America) brownstones and Revolutionary War mansions, our cobblestone (or potholed to the point of seeming cobblestone) streets, and our occasional nightmarish gambrel rooftops host a number of spooks and specters, many of them famous in life, some famous only in death. From the ghost of a Ziegfeld Follies girl to Mark Twain’s House of Death, here are some of my favorite New York haunts.
Time for a spooky new Frolic Afield. Back again on The Alcohol Profressor, I’m taking you all on a gaslight tour of New York City’s most famous haunted bars and taverns. Booo-zy Tales of Spirited New York will bring you face to face with spectral sailors, poltergeist pirates, and at the ghost of at least one drunken poet. Or, if nothing else, you’ll get a decent pint and a dram of Tullamore Dew.
Brooklyn’s sprawling, historic Green-Wood Cemetery has fast become one of my favorite places in the city. This cemetery-as-park serves as the last resting place for many of the city’s most famous figures, as well as a few of its most infamous. On a recent walking tour of the cemetery, I visited some of the most notorious scalawags and tragic figures.
Paul Naschy built his reputation primarily through the sheer force of volume. He appears as the werewolf-cursed Waldamer Daninsky no fewer than a dozen times, aside from paying homage to Dracula and other creatures of the night. But his heart was always with the werewolf, even when his werewolf movies were retitled things like, Frankenstein’s Bloody Terror. My first exposure to Naschy came years and years ago, when as a wee sprout I caught an afternoon airing of Dracula’s Great Love, which apparently was referred to by someone, somewhere as Cemetery Tramps, which is about the greatest name ever. All I really recalled about the movie later in life was that there was a long, drawn-out finale wherein Dracula engaged in a weepy inner monologue and woe and the sadness in his soul before staking himself through the heart. I remember that and the fact that I hated it. Even now, years later and despite recommendations, I still avoid the movie. Perhaps I am doing Naschy and Dracula a great disservice. But then, perhaps Naschy and Dracula were doing me a great disservice by making Dracula into such a crybaby. Next up is a movie where Dracula wears ratty oversized sweaters and writes acoustic guitar ballads about how vampirism makes him sad. Geez, I thought vampire lore could get no worse than the goth-industrial interpretation ruining it these days, but I think I just came up with something even more foul. I beg of you, film makers, no bearded tween Draculas.
The world of Hong Kong horror films is a strange one, indeed. Even within the horror genre, which can be pretty damn weird much of the time, Hong Kong manages to make films that will cause even seasoned horror fans to scratch their head. Hong Kong films often take the cake for the greatest degree of creativity with their tastelessness. This is the industry that gave us such genre classics as Untold Story and the intense graphic, hard to stomach atrocity exhibition Men Behind the Sun. It’s also the industry that gave us horror-fantasy wonders like Chinese Ghost Story, kungfu cannibal films like We Are Going to Eat You, and more hopping vampire films than you can shake a lucky Buddhist charm at. The sheer diversity of Hong Kong horror makes it a somewhat overwhelming, but endlessly exciting world to explore. It’s not horror like we’ve come to know in the West. Though a foppish looking Dracula may swoop down from time to time in old kungfu horror films, Hong Kong tends to rely much more on an indigenous cast of ghouls. Hopping vampires are sort of the banner carriers of the genre, and no creature is more uniquely identified with Chinese horror than these bouncing demons. Comprising the rest of the parade are a curious cast of witches, devils, sexy ghosts, fetus eating freaks, and countless possessed people with eerie green lights shining on them.
The story to this point: the good doctor of questionable moral standards, one Baron Victor von Frankenstein (Peter Cushing) escaped the guillotine he was facing at the end of the first film, Curse of Frankenstein, only to find himself beaten to death by angry amputees at the end of the second film, Revenge of Frankenstein. Luckily, his apprentice in that film, Hans, turned out to be a most capable student and was able to bring Frankenstein back from the dead, making him, in effect, the first man to successfully pull off Frankenstein’s experiment with reanimating corpses. So there you have the first two Frankenstein films from England’s Hammer Studio, two of the company’s best films and two of the best horror films ever produced. Well, you can forget all that, because although the third film in the series, Evil of Frankenstein once again stars Cushing in the lead role, and although there is a helper named Hans, just about everything else established up to that point by the previous films is chucked out the window for some inexplicable reason. Perhaps if we step back and look at some of the events that lead up to this film, we can comprehend why it seems such an oddity in the overall Hammer Frankenstein series. Or maybe we won’t. Either way, you’re getting the story, so you might as well sit back and make yourself comfortable.