And that’s a wrap. The end of Universal Monsters in Review has come. Much as I said during last week’s review on the silent era of horror, I will certainly miss my weekend screening of these horrible yet awesome classic black and white pictures from the vault of Universal. I’d like to actually start making this a thing, something set aside for my weekend leisure, putting in ole Frankenstein or his Bride or The Wolf Man or The Mummy or Dracula, or even some of the lesser-known flicks, like Invisible Agent or any of the A&C ones. To think of the impact these movies had on future movie makers, and not just those dark producers and directors, but also the writers, both on screen and on print, is mind boggling. Personally speaking, the Universal classics have impacted some of my own creature/monster creations. And still do. The underlying mythos is nearly too much to avoid. These are the pillars for a reason. Certainly the same could be said of this up and coming generation of young writers and even the guest authors we’ve had during this series, tackling the movies that inspired them in some way. So, on this very last Universal Monsters in Review review, I’d like to shout out to all my guest authors that participated, the movie(s) they reviewed and a little bit about them and where you can buy their work.
(in order of appearance)
Daniel Marc Chant – Reviewed for us both The Mummy (1932) and The Creature Walks Among Us (1956). Mr. Chant is the published author of several terrifying tales, including Maldicion, Burning House, and his newest venture, Mr. Robespierre. Daniel is also one of the founders of The Sinister Horror Company, the publishing team that brought us such frights as, The Black Room Manuscripts and God Bomb!. You can follow Daniel on his blog, here. And you can read his review on Mummy here.
Jeffery X. Martin – Reviewed for us The Wolf Man (1941) and The Invisible Man’s Revenge (1944) and Revenge of the Creature (1955). Mr. X is the published author of several stories that are sure to shock, including those in the Elder’s Keep universe and Tarotsphere. He also published a fantastic tale in The Black Room Manuscripts. His latest novel, Hunting Witches, is now available on Amazon’s blood-soaked altar. You can find his work on Amazon. When Mr. X is not writing creep mind-benders, he’s the host and/or contributor to several podcasts and blogs, including, but not limited to, Pop Shiftier and Kiss the Goat. You can read his review on Wolf Man here.
Duncan Ralston– Reviewed for us The Invisible Man (1933). Mr. Ralston is not just a wonderful human being, but also the author of gruesome tales like Salvage: A Ghost Story, and the horror collection, Gristle & Bone. He’s been published in a various of anthologies, including The Black Room Manuscripts and The Animal, and the anthology,Easter Eggs and Bunny Boilers. His latest book will sure to knock your socks off, Woom. You can follow and chat with him atwww.facebook.com/duncanralstonfiction and www.duncanralston.com. You can read his review on Invisible Man here.
Dawn Cano – Reviewed for us legendary Frankenstein (1931). Miss Cano has always been a fan of horror, she loves everything about the genre and has just begun her journey into the world of horror writing. When not pounding away at the keyboard, she can be found reviewing books and movies for The Ginger Nuts of Horror and wasting time on Facebook. Dawn has also started what will no doubt be a fantastic career as a storyteller. You can find her books, including Sleep Deprived and Bucket List, *Warning: Some Scenes May Disturb for both of these wonderfully gruesome tales. And you can check out her review of Frankenstein here.
Kit Power – Reviewed for us both The Bride of Frankenstein (1935) and Monster Mash Pinball Game. Mr. Power lives in the UK and writes fiction that lurks at the boundaries of the horror, fantasy, and thriller genres, trying to bum a smoke or hitch a ride from the unwary. In his secret alter ego of Kit Gonzo, he also performs as front man (and occasionally blogs) for death cult and popular beat combo The Disciples Of Gonzo. He is the published author of such works as, GodBomb!, Lifeline, and has contributed to numerous anthologies, including The Black Room Manuscripts, Widowmakers, and upcoming Easter Eggs and Bunny Boilers. You can read Kit’s review of Bride here.
Justin Park – Reviewed for us both Abbott and Costello Meet Frankenstein (1948) and Werewolf in London (1935). Mr. Park draws from the crazy worlds of exploitation cinema and pulp literature for his literary inspiration. His family are both equally proud and disturbed by his literary output dragged from a mind they helped to cultivate. He resides on the outskirts of Bristol in the UK and hopes one day they’ll let him in. Mr. Park is the author of several twisted tales of morbid doom, including Upon Waking and Terror Byte and Punch. He was also featured with a horrifyingly wonderful short in the horror anthology The Black Room Manuscripts. Besides giving his readers terrifying nightmares, Mr. Park is also one of the founding members of the up and coming UK Publishing team, The Sinister Horror Company, active in promoting other writers and attending numerous conventions. You can read his review on A&C Meet Frank here.
William D. Prystuak – Reviewed for us Dracula’s Daughter (1936). Professor Prystuak is an award-winning screenwriter, film producer, and teacher in higher education, as well as a published poet, and essayist. His crime thriller, BLOODLETTING, has been adapted from his script of the same name, and he is currently working on a horror series. William also co-hosts THE LAST KNOCK podcast as Billy Crash with his good buddy, Jonny Numb, and currently, has thousands of listeners in 120 countries. You can find more about horror and William on his Crash Palace Productions site. As an Assistant Professor of English at Kutztown University of Pennsylvania, William teaches business writing and public relations. You can find more about William at any of these fantastic sites: Amazon: http://amzn.to/1Fu9PHS Barnes and Noble: http://bit.ly/1GhclaJ Goodreads: https://www.goodreads.com/book/show/23365977-bloodletting BLOODLETTING Book Trailer One: https://www.youtube.com/watch?v=TVNji_G-tSI BLOODLETTING Book Trailer Two: https://www.youtube.com/watch?v=glK9DiVIHT8 IMDB: http://www.imdb.com/name/nm5464477/?ref_=fn_al_nm_1 Linked In: https://www.linkedin.com/pub/william-d-prystauk/10/9a1/a55 Horror Podcast: THE LAST KNOCK on iTunes Twitter: @crashpalace. You can read Professor Prystuak’s review of Drac’s Daughter here.
Michelle Garza – Reviewed for us She Wolf of London (1946). Michelle Garza, one-half of the writing team based out of Arizona. Her sister, Melissa Lason, and Miss. Garza have been dubbed The Sisters of Slaughter by the editors at Fireside Press. Since a young age, they have enjoyed crafting tales of the dark and macabre. Their work has been included in anthologies such as WIDOWMAKERS a benefit anthology of dark fiction, WISHFUL THINKING by Fireside press and soon to be published REJECTED FOR CONTENT 3 by JEA. To be included in FRESH MEAT 2015 is an incredible honor for the sisters. Their debut novel, Mayan Blue, released with Sinister Grin Press. You can keep track of Michelle and the Sisters of Slaughter’s budding writing career by following them on Twitter and Facebook. You can read her review of She Wolf here.
Duncan P. Bradshaw – Reviewed for us Invisible Agent (1942). Mr. Bradshaw lives in MIGHTY Wiltshire, with his wife Debbie and their two cats, Rafa and Pepe. Their barbershop quartet days may be behind them now, but they can still belt out a mean version of ‘Deepy Dippy’ by Right Said Fred when the mood catches them right. Duncan’s debut novel, zom-com, “Class Three,” was released in November 2014. The first book in the follow-up trilogy, “Class Four: Those Who Survive,” shambled into life in July 2015. Both have received glowing reviews. In early 2016, he released his debut Bizarro novella, “Celebrity Culture”, which has been well received, despite its oddness. Not content with resting on his laurels, Prime Directive blasts off in May 2016, a sci-fi/horror novella which pleased fellow founder J.R. Park. Before the main attraction…Duncan finished writing “Hexagram” in late 2015, a novel set over five hundred years, which follows an ancient ritual and how people throughout the years twist the original purpose to their own end. You can find all of Mr. Bradshaw’s work on the bloodied altar of Amazon. And you can read his review of Invisible 007 here.
Chantel Feszczyn (aka Chaney Dreadful) – Reviewed for us House of Frankenstein (1944). Miss Dreadful — is one creepy ghoul hailing from a small city in Saskatchewan, Canada. She is a regular podcast voice frequenting on the podcasts, with the first being Dead as Hell Horror Podcast, and as well the likes of The Resurrection of Zombie 7, Land of the Creeps andWhedonverse Podcast. For the last three years she has brought her focus towards written reviews, posting occasionally on her Tumblr blog and recently moving to her new website dreadfulreviews.com — where she posts weekly reviews discussing movies, comic books and horror-themed merchandise. You can read her review of Frank’s House here.
Daryl Lewis Duncan – Reviewed for us Abbott and Costello Meet The Invisible Man (1951). Mr. Duncan is an up and coming writer and graphic artist and one smashing guitarist. You can find his work on numerous book covers recently released this year, including books by Dawn Cano, Duncan Ralston, and myself (Thomas S. Flowers). He also has upcoming projects with the likes of Kit Power and Rich Hawkins. Some of Mr. Duncan’s publishing work includes Violent Delights, in which he co-wrote with Dawn Cano. He is an avid reader and supporter of fellow indie writers. His artwork is stylized in a retro, space-age grunge, 70s grindhouse. Yup, it is that awesome! You can read his review on A&C Meet Invisible Man here.
Jon Weidler – Reviewed for us Abbott and Costello Meet The Mummy (1955). Mr. Weidler works for the Commonwealth of Pennsylvania by day but is a podcast superhero by night. He co-hosts THE LAST KNOCK horror podcast under the moniker “Jonny Numb,” and is a regular contributor to the Crash Palace Productions and Loud Green Bird websites. His archived movie reviews can be found at numbviews.livejournal.com, and his social media handle is @JonnyNumb (Twitter & Letterboxd). You can read his review of A&C Meet Mummy here.
Tim Busbey – Reviewed for us The Mummy’s Ghost (1942). Mr. Busbey is an award-winning editor and journalist who currently is the Assistant Editor at Richland Source (www.RichlandSource.com) and Ashland Source (www.AshlandSource.com). Tim also does freelance book editing and is a partner with Erin Al-Mehairi in Hook of A Book Media and Publicity. When he’s not editing other people’s stories or reporting on all the happenings in Ashland, Ohio, Tim writes sci-fi, thrillers and horror. You can read his review of Mummy’s Ghost here.
Pembroke Sinclair – Reviewed for us The Mummy’s Curse (1944). Miss. Sinclair is a literary jack of all trades, playing her hand at multiple genres. She has written an eclectic mix of fiction ranging from horror to sci-fi and even some westerns. Born in Rock Springs, Wyoming–the home of 56 nationalities–it is no wonder Pembroke ended up so creatively diverse. Her fascination with the notions of good and evil, demons and angels, and how the lines blur have inspired her writing. Pembroke lives in Laramie, Wyoming, with her husband, two spirited boys, a black lab named Ryder, and a rescue kitty named Alia, who happens to be the sweetest, most adorable kitty in the world! She cannot say no to dessert, orange soda, or cinnamon. She loves rats and tatts and rock and roll and wants to be an alien queen when she grows up. You can learn more about Pembroke Sinclair by visiting her at pembrokesinclair.blogspot.com. You can follow the very talented Pembroke on Facebook Amazon Twitter Or at her blog. You can read her review on Mummy’s Curse here.
David Sgalambro – Reviewed for us The Ghost of Frankenstein (1942). MR. SGALAMBRO is a horror writer at J. Ellington Ashton Press and a contributing Writer at Resident Rock Star Magazine. He was born in New York, but spent the majority of his life sweltering down in Florida. Growing up, he was obsessed with every 1960’s Monster magazine on the newsstand (He still has hundreds of them that he can’t bear to part with ….ever) and any Horror movie his eyes could watch (He blames some of his lunacy upon seeing the original Night of the Living Dead at the age of nine). His continuous love for the genre has kept him in movie theaters throughout his life indulging in all of the decade’s bloodiest moments, but not up until recently has he tapped into his own dark inner voice as a writer, and brought forth his compelling debut novel published by J. Ellington Ashton Press titled NED. It’s his first attempt at the literary game and he credits his love of Horror for its terrifying content. David is currently working on his second novel which once again explores the darkest depths of his maniacal mind for inspiration and creativity. David’s other current literary escape is as a contributing writer for a music publication called Resident Rock Star magazine out of Colorado. With them he gets the freedom to write about what’s happening in the current music scene pertaining to his own personal taste, Heavy Metal. You can read his review on Ghost of Frank here.
Patrick Loveland – Reviewed for us The Invisible Man Returns (1940). MR. LOVELAND writes screenplays, novels, and shorter prose fiction. He also draws somewhat disturbing imagery on Post-its. By day, he schedules classes, helps instructors get set up for class sessions, possibly draws said weird Post-its, and moves many a furniture at a state college in Southern California where he lives with his wife and young daughter. His stories have appeared in anthologies published by April Moon Books, Bold Venture Press, and the award-winning Crime Factory zine. Mr. Loveland’s first novel, A TEAR IN THE VEIL, will be published in late 2016 by April Moon Books. You can connect with Patrick on Twitter:https://twitter.com/pmloveland Facebook: https://www.facebook.com/pmloveland/ Amazon: http://www.amazon.com/-/e/B00S78LF9M Or Blog [under construction]:https://patrickloveland.wordpress.com/ You can read his review on Invisible Man’s Return here.
Chad Clark – Reviewed for us House of Dracula (1945). Mr. Clark is a midwestern author of horror and science fiction. His artistic roots can be traced back to the golden era of horror literature, Stephen King, and Robert McCammon being large influences. His love for horror began as well in the classic horror franchises of the eighties. He resides in Iowa with his wife and two sons. Clark’s debut novel, Borrowed Time, was published in 2014. His second novel, A Shade for Every Season was released in 2015, and in 2016 Clark published Behind Our Walls, a dark look at the human condition set in a post-apocalyptic world. His latest book, Down the Beaten Path, released in September 2016. You can keep up with all of Mr. Clark’s works by following him on Amazon here. And you can read his review of House of Drac here.
Matt Shaw – Reviewed for us The Invisible Woman (1940). Mr. Shaw is the published author of over 100 titles – all readily available on AMAZON. He is one of the United Kingdom’s leading – and most prolific – horror authors, regularly breaking the top ten in the chart for Amazon’s Most Popular Horror Authors. With work sometimes compared to Stephen King, Richard Laymon, and Edward Lee, Shaw is best known for his extreme horror novels (The infamous Black Cover Range), Shaw has also dabbled in other genres with much success; including romance, thrillers, erotica, and dramas. Despite primarily being a horror author, Shaw is a huge fan of Roald Dahl – even having a tattoo of the man on his arm; something he looks to whenever he needs a kick up the bum or inspiration to continue working! As well as pushing to release a book a month, Shaw’s work is currently being translated for the Korean market and he is currently working hard to produce his own feature length film. And speaking of films… Several film options have been sold with features in the very early stages of development. Watch this space. Matt Shaw lives in Southampton (United Kingdom) with his wife Marie, his bastard cat Nellie and three rats – Roland, Splinter, and Spike. He used to live with Joey the Chinchilla and Larry the Bearded Dragon but they died. At least he hoped they did because he buried them. You can follow Mr. Shaw and delve into his work by following his site at www.mattshawpublications.co.uk AND on Facebook at www.facebook.com/mattshawpublications.co.uk. You can read his review of the infamous Invisible Woman here.
And there you have them. Please join me in giving them a huge round of applause and thanks for agreeing to participate in this new endeavor here on Machine Mean. And be sure to check out all their awesome work by following the links provided under each bio. Now, what? Well, keep your socks on, October is just around the bend and we’ve got an awesome event in store for you. Machine Mean’s Freight Fest 2016, featuring 21 guest authors reviewing 21 dark fiction movies of their own choosing running from October day 1 thru day 31. That’s right, I let 21 weirdos pick their own movies to review and they’ve selected some rather awesome flicks, ranging from the 1960s to released just last month. You can follow news and updates regarding Freight Fest by following our Facebook page here. And as always, if you enjoyed what you’ve read here on Machine Mean, please subscribe to our author mailing list by clicking on the FREE BOOK image below to not only receive updates on sales and new releases, but also a free anthology of dark fiction.
September 28, 2016 | Categories: History, Horror, Reviews | Tags: 1930s, 1940's, 1950's, Bride of Frankenstein, Chad Clark, Chaney Dreadful, Daniel Marc Chant, Daryl Lewis Duncan, David Sgalambro, Dawn Cano, Dracula, Dracula's Daughter, Duncan Bradshaw, Duncan Ralston, Frankenstein, guest authors, Guest Reviewers, Guest Writers, Horror, horror reviews, House of Dracula, House of Frankenstein, Jeffery X Martin, Jon Weidler, Justin Park, Kit Power, Matt Shaw, Michelle Garza, movie reviews, Patrick Lovelland, Pembroke Sinclair, Reviews, Sisters of Slaughter, The Invisible Man, The Invisible Woman, The Mummy, The Wolf Man, Tim Busbey, Universal Classics, Universal Monsters, Universal Monsters in Review, Universal Studios, Universal Studios Classics, William D. Prystauk | 3 Comments
Have you ever had one of those moments when you question precisely what it is you’re watching? I had one of those during the screening for The Invisible Woman. Now, to be fair, the “Invisible” films have had a rather rough go at it as far as quality, in fact, the only movies from the “Invisible” production line I like are the original, The Invisible Man, and Invisible Agent, and you can thank Peter Lorre for that one. And I guess that gives you a bit of a spoiler on my thoughts for this rendition. While watching, I was really wanting to like the movie, I really did try. The major problem with The Invisible Woman, for me at least, was that it was trying to do one thing while simultaneously circumventing those attempts. The Invisible Woman started out as a comedy, Shemp Howard from The Three Stooges was in the film for Christ’s sake, and the movie was, at first, calling attention, through comedy, certain discriminations/sexism against women. The volunteer for the “invisible” project was after all a working gal whose boss was a certifiable pig. And I feel, at the beginning, the film achieved its goal of making light of a rather dark subject. But as the film progresses, the plot unspools into a heap of intangible wool. It made no sense…the woman was strong and could save the day, but couldn’t control herself and needed a man to save her? The message the movie is presenting is confusing. Does making a movie that semi resembles some sort of pro- women’s right as a comedy mean the subject is laughable? Then again, we need to remember the era in which the film was made and not interpret past events in terms of modern values and concepts. Anyhow, that’s the beans on how I feel regarding the movie, let’s see what our honored guest has to say about The Invisible Woman.
The Invisible Woman
By: Matt Shaw
‘I was just wondering if you fancied doing a film review for me?’
‘Hey? What do you mean – I mean, I know what you mean but… What do you need?’
‘I’m doing a series of blogs about Universal Monsters and just wondered if you wanted to review one of the films…’
‘Erm. Can do. Not really my strength but – sure. Which one?’
‘You can choose from these.’ <List given>
‘Oh, I’ll have The Invisible Woman.’
And then I forget about the conversation only to be reminded months later. Panicked, with the review due shortly, I go off to download the film Bride of Frankenstein. Not sure how my brain went from one to the other but – meh – a lucky conversation on Facebook and I realized my mistake and soon found myself watching the correct film on YouTube. And – you know what – I wish I hadn’t bothered. Still… I did bother so I might as well review the turd. I mean “film”. Try and guess what I thought about it before you get to my verdict at the end of this review and – remember – I’m a horror author, not a film critic.
The Invisible Woman was released in the 1940s. It has that “old film” charm with the black and white footage and grainy specks here and there which normally trick you into thinking you’re watching an intelligent movie classic – you know, the type of pretentious shite you were forced to endure at school as part of life lessons. Unfortunately there is nothing intelligent about this film, nor – in fact – are there any lessons to be learned. It is also lacking any charm. In fact, how the studio survived with the release of this festering cesspit is beyond me, but – there you go.
Starring Virginia Bruce (The Wicked Witch no less) as the Invisible Woman (Kitty Carroll) and John Barrymore (as the eccentric Professor Gibbs), it also stars John Howard as Richard Russell, the millionaire playboy character on the verge of bankruptcy after years of living life to the full and paying towards Gibbs’ inventions. But none of these characters, or performances, will stand out compared to one of the other characters and – no – I’m not referring to Shemp Howard (one of the Three Stooges). I’m referring to Charlie Ruggles who played George, the butler to Richard Russell – a character who stands out for the wrong reasons. In fact – Charlie Ruggles deserved to never work again and – quite frankly – I am too irritated to check to see if he even did. The character was a bumbling idiot, given most of the “slapstick” scenes and delivering them a bull in a china shop. No… Not a bull. What’s bigger than a bull? Ah. An elephant. His oafish “acting” and over the top mannerisms doing nothing more than to fuel my hatred for the film and all involved.
‘George! Call for an airport!’
‘No, George… Call for an airport on the telephone.’
Oh, how I rolled around the living room laughing my quite frankly massive bollocks off.
George and Richard are in heated debate. Richard goes up the stairs and George goes up the ladder next to the stairs, only to do a somersault when he reaches the top, landing in a heap on the floor.
Someone call 999! I’m dying from laughter.
Now I know what a farce when I see one. I studied it at school with the likes of Dario Fo. I enjoy a good farce when they are done correctly but – here – there are so few scenes of comedy that when it does happen (poorly) it does nothing to serve the film and just feels painfully out of place. Anyway, fuck off, I’m watching Universal Monsters. I want horror. I’ve been duped. I don’t want some piss poor attempt at comedy. If I wanted something funny – I’d watch something by Seth Rogen…
Oh, the irony.
The plot of the film itself is fairly bog standard. An inventor who invents a machine that turns people invisible. The investor gets excited because he thinks it will solve his money problems. After putting an advert in the paper – a woman (Kitty) gets in touch to be the test subject. But – wait for it – three crooks also hear of the machine and want to steal it for their boss! So – Kitty goes invisible and seeks revenge on her boss (she works as a model) who learns the error of his ways after getting literally spanked by Kitty. She then goes with Gibbs to Russell’s lodge to prove the machine works (and hear we discover how sexist films were back then) and they end up falling for each other and – boom – the crooks show up and kidnap the professor and the girl having already stolen the machine from back at the lab. Everything is wrapped up nicely with the Invisible Woman teaching them lessons in the space of about four minutes and the credits roll. That’s all there is to it and I’m sorry for the spoilers but – seriously – you’ll thank me. This film is a crock of shit with it’s dire “comedy”, flat acting, so-so music and… Fuck me… I’ve got something good to say… Hold your pants, this is big…
The effects, given this, was made in the 40s are actually pretty good. With regards to the invisible effects anyway. Don’t mention the lightening towards the end of the movie. So – yeah – there you go – a positive in this shit pie. Good effects. But, if you’ve read my books, you’ll know I don’t like happy endings so… Remember when I said was sexist? Sexist and degrading to women. Check out these lines, babycakes:
‘It’s me, Mrs. Jackson.’
‘You can’t possibly be Mrs. Jackson! She’s in the kitchen where she belongs!’
‘Any girl insisting on becoming invisible can’t be easy on the eyes!’
‘Hiding your stout figure…’
It’s okay, though. The rumor is Hollywood is remaking the film and casting an all-female cast with the exception of the invisible man.
‘Of course, you chose to go invisible… With a penis that small, why wouldn’t you?’
‘He didn’t need the machine for us to not be able to see that!’
Anyway, I’m not sorry for this negative review. The film portrayed women to be either thick or deranged. This isn’t a hero piece. The male characters – with the exception of the Playboy – don’t fare any better on the stupidity scale and, quite frankly, the screenwriters should have been blacklisted just to fuck them off from the scene before they could do any more damage to the brains of those foolish enough to try their work out.
This is not a good film and it’s no surprise I struggled to find a torrent with which to view it…
Thanks for reading now, if you’ll forgive me, I’m off to pour bleach in my eyes and drill a hole in my head – into which I shall be pouring sulphuric acid.
Peace out, homies.
Matt Shaw is the published author of over 100 titles – all readily available on AMAZON. He is one of the United Kingdom’s leading – and most prolific – horror authors, regularly breaking the top ten in the chart for Amazon’s Most Popular Horror Authors. With work sometimes compared to Stephen King, Richard Laymon, and Edward Lee, Shaw is best known for his extreme horror novels (The infamous Black Cover Range), Shaw has also dabbled in other genres with much success; including romance, thrillers, erotica and dramas. Despite primarily being a horror author, Shaw is a huge fan of Roald Dahl – even having a tattoo of the man on his arm; something he looks to whenever he needs a kick up the bum or inspiration to continue working! As well as pushing to release a book a month, Shaw’s work is currently being translated for the Korean market and he is currently working hard to produce his own feature length film. And speaking of films… Several film options have been sold with features in the very early stages of development. Watch this space. Matt Shaw lives in Southampton (United Kingdom) with his wife Marie, his bastard cat Nellie and three rats – Roland, Splinter and Spike. He used to live with Joey the Chinchilla and Larry the Bearded Dragon but they died. At least he hoped they did because he buried them. You can follow Matt and delve into his work by following his site at www.mattshawpublications.co.uk AND on the altar of Facebook at www.facebook.com/mattshawpublications.co.uk
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August 31, 2016 | Categories: Horror, Reviews | Tags: 1940, authors, Comedy, guest authors, Horror, horror reviews, John Barrymore, Matt Shaw, monsters, movie reviews, Reviews, sexist, Shemp Howard, slap stick, The Invisible Man, The Invisible Woman, Universal Classics, Universal Monsters, Universal Monsters in Review, Universal Studios, Universal Studios Classics, Virginia Bruce, women in horror, women's rights, worst movie | 5 Comments
Let me start by saying that I am a fan of the Invisible Man. The original book by H.G. Wells is a work of utter brilliance, and the original 1933 film, The Invisible Man, starring Claude Rains, is a wonderful screen adaptation and true to the “mad scientist” theme. Its a difficult story to pull off in a movie. The effects have to be decent and the actors have to be good enough for everything not to come off feeling comical. The original with Claude Rains as the invisible man gave us the building blocks of what to expect in later invisible man movies, a scientist driven mad by his own formula and desire for recognition in his field of study. The Invisible Woman has yet to make it on Universal Monsters in Review, so we’ll leave that one out for now, but the rest, The Invisible Man Returns, the Invisible Agent, and Abbot and Costello Meet the Invisible Man, while trying to do things different, end up coming off strangely out of sync. Of these, at least The Invisible Agent was cinematic and entertaining, despite its obvious propagandic agenda. The Invisible Man Returns was kinda of a bore with too many complicated themes going on, and A&C Meet The Invisible Man was entirely way too long. The Invisible Man’s Revenge seemed…well, different then the rest. The Invisible Man is no longer the protagonist, which is fine because he is the monster, right? But with the story of some maniac wanting to get back what’s owed to him (money), blackmailing and murder and what not to achieve his goals, well…I didn’t really see the need for the invisible man aspect of the film. This easily could have been a straightforward noir mystery without the need of the “mad science” of invisibility, in fact, I’d be as bold to say the entire invisible man part was tacked on and not the central theme, as it should have been. We don’t even get “the invisible man” until the second act. And the encounter with the “mad scientist” was utterly coincidental. The one saving grace for me (though the movie was entertaining regardless of non-monsterism) was John Carradine as Doctor Peter Drury and Leon Errol who played bumbling drunk Herbert Higgins. Leon stole the show, in my opinion, and was truly a pleasure watching preform. Okay…as it seems, I’ve again gone on waaay too much. Lets see what our estimated guest author had to say about The Invisible Man’s Revenge.
The Invisible Man’s Revenge
By: Jeffery X. Martin
Please call me X. Everyone does. When I was a kid, fourth grade, to be exact, I wrote a horror story for a class assignment. It was so good, they called my mother in to the office for a conference on a day when school was closed for students. The fourth grade teachers and the school principal wanted to have me evaluated by a psychologist. The school staff couldn’t figure out why I would want to write a story that was violent or had frightening images. Why wasn’t it football, puppies and rainbows?I wasn’t that kind of kid. My mother knew that. And she promptly told those teachers, the principal (and that horrible school secretary, the one who looked like a Raggedy Ann doll, possessed by Pazuzu) and anyone else within earshot to go f**k themselves. I still write scary stories. It’s my job. It’s what I do. It’s what I’ve always done.
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August 3, 2016 | Categories: Horror, Reviews | Tags: 1944, guest authors, H.G. Wells, Horror, horror reviews, Jeffery X Martin, Jon Hall, Kiss the Goat, movie reviews, Mystery, noir, Reviews, Screen Kings, The Invisible Man, The Invisible Man's Revenge, Universal Classics, Universal Monsters, Universal Monsters in Review, Universal Studios | Leave a comment
Taking a cue from the original The Invisible Man, the Return seems to keep with that same breakneck speedy opening, forcing the audience to catch up as the story progresses rather rapidly. I’m not sure if I was just totally exhausted before watching this movie last night, but it took me a while to figure out what was going on and who was who. Sure. It doesnt take Sir Sherlock Holmes to figure what the scientist is doing, or when the guards in the prison discover the remnants of Mr. Griffin’s clothes on the floor. It did take me though almost half the move to realize who Cedric Hardwicke was playing as. Was this intentional or just the style of classic Invisible Man tropes? Who knows. What I did enjoy, other than the superb acting on all fronts, was the overall deeper theme of the movie, much like the predecessor, The Invisible Man Returns discusses the ugliness of people when they’ve shed their masks, or keeping to the movie, when the masks become invisible. Who are we when our actions are no longer accountable? Similar, one might say, to the even more classic story of Dr. Jekyll and Mr. Hyde, in which the abominable Mr. Hyde glares into the mirror and howls, “Free! I’m free at last!” Well, before I start rambling off topic, let me close my statements by saying that I did enjoy The Invisible Man Returns, the acting was a pleasure watching, both the voice acting of Vincent Price and the always impressive Sir Cedric Hardwicke, who would go on to play in another Invisible Man tale in Invisible Agent, and in The Ghost of Frankenstein. But the movie did drag on a bit, especially in the middle, and it didn’t have the same bite as the original. Okay, I’ve said my peace, and without further delay…let us see what our special guest has to say.
The Invisible Man Returns (1940)
By Patrick Loveland
[CONTAINS SPOILERS FOR A 76 YEAR OLD FILM, AN 83 YEAR OLD FILM, AND A 119 YEAR OLD NOVEL]
I’ll start spoiling right out of the gate by clearing up something I’d wondered myself when Thomas allowed me to choose this film—how could The Invisible Man return? He’d died at the end of the novel and the 1933 film based on it that this film was made to be a sequel to. So, I’ll explain it sooner than the film does—Jack Griffin, The Invisible Man from the first film did indeed die at the end. Griffin’s brother Dr. Frank Griffin (John Sutton) has been hand-waved into existence—having worked on the invisibility experiments with Jack (named John when referenced in this film), of course—and uses his matching knowledge of invisibility to help a lovely young woman and friend named Helen Manson (Nan Grey) free her fiancé, Sir Geoffrey Radcliffe (Vincent Price), from death row for a crime he didn’t commit (the murder of his brother). There, now we’re on the same page. I actually enjoyed the vagueness of the situation in the film’s early parts, but found it was a bit too vague about the character relationships as it went on, until about—
Actually, I’m getting ahead of myself. Alright, so…
The Invisible Man Returns was written by Curt Siodmak and Lester Cole, and directed by Joe May as a sequel to Universal’s popular earlier film, The Invisible Man, which was based on the novel by H.G. Wells. One thing that’s interesting to me about this sequel is that instead of the Invisible Man in this story being mostly concerned with curing himself of his invisible state, this character has been convinced by Griffin that the process can be easily reversed after his escape. That allows him to focus on clearing his name and getting revenge for his wrongful imprisonment.
The film begins in Radcliffe Manor’s kitchen with the servants looking morose as they bicker over the possible guilt and approaching state-implemented death of Sir Radcliffe.
Then we transition to Richard Cobb (Sir Cedric Hardwicke) resting his chin on his hand atop a high chair back, watching something with obvious fascination. Helen Manson sits across the room from him on a couch, almost catatonic from worrying about Sir Radcliffe, her fiancé—as Cobb practically ogles her.
Helen rises from the couch and opens the room’s curtains in a shot that seems (to me) to be a visual nod to the intro scene in the first film, wherein Griffin closes the blinds and curtains in a deliberate fashion in the parlor he’s just begun renting.
Dr. Griffin arrives and he and Helen convince Cobb to call one last influential friend in hopes of stopping Radcliffe’s execution. The friend is away, Cobb says after hanging up.
Having failed to stop the execution of his friend, Griffin visits him in his cell. Radcliffe is given the invisibility agent and escapes his cell, probably as the guard who was in it with him opens to door to yell that he’s disappeared.
Radcliffe escapes the prison through the countryside and after some travel naked and on foot, reaches Dr. Griffin’s cabin in the woods and the waiting Helen. They meet and talk. The caretaker brings some food and catches Radcliffe with his dark glasses removed, eye holes in his bandage wrappings gaping and empty. After being rushed out, the caretaker calls the police and one policeman arrives. Radcliffe argues with him and closes the door. Radcliffe quickly gets undressed, causing a turned away Helen to faint when she peeks at him, seeing the strangeness of his invisibility herself for the first time. Radcliffe escapes.
Griffin experiments in his lab above the Radcliffe mining operation, turning an invisible guinea pig visible again. Shortly after turning, it dies painfully. Radcliffe arrives and they talk. Then a man comes by to harass Griffin and Radcliffe watches this, hidden in plain sight as he is.
I’m going to stop there because this film really is worth watching yourself, no question.
What follows is an investigation by Radcliffe/The (new) Invisible Man into who actually killed his brother, complicated by the horrible side effect of the invisibility agent—madness. Dr. Griffin is in a race against time and Radcliffe’s ever-growing madness—and escalating violence—to cure the invisibility he knowingly “saved” him with.
First let me Disclose with Extreme Fullness that I’m not well-versed on Universal Monsters. Before this, I’d seen a handful of the films (including The Invisible Man), but it had been decades since I had. At this point I’ve seen more Hammer films, but both houses have their own charms. I blame growing up in the 1980s and being terrified, chilled, horrified, and thrilled by the likes of Alien, Aliens, The Thing, Predator, Terminator, the Of The Dead trilogy, An American Werewolf in London, and many other films from the heyday of practical creature and makeup effects. I got it into my head, as many other young’ns like myself seemed to, that “old” movies were just totally corny and had little to offer, horror or otherwise—something I’ve heard younger people now expressing about those same 70s and 80s films I hold as a high water mark, with their “bad special effects”… Harumph!
It took a few friends and teachers in art/film school to open my mind to older films, one showing me things like The Lady From Shanghai and Sunset Boulevard, and another showing me one (because it was her father’s favorite film, so I had to like it (or be able to act like I did)) that would from that day on be a genuine favorite, The Third Man. Then came the film that convinced me all older horror and sci-fi films weren’t (fun but) cheesy and quaint, The Thing From Another World. Sure, I’m not fond of the actual creature effects in that one, but damn is it thick with tension and atmosphere (as it should be coming from the original novella Who Goes There? by John W. Campbell, Jr.—which had a better creature they probably couldn’t have done justice to anyway). I saw Carpenter’s take on the novella first as a boy and it destroyed me and will always be my preference, but I was really impressed how well everything other than the actual creature held up in this first version/“original”.
Soooo, all that leads to me saying that even with my general open-mindedness at this point for older horror and sci-fi films, I was genuinely surprised how much I enjoyed this one. Maybe it was its sequel-to-an-iconic-classic status, or that it had a different lead actor. Possibly my confusion as to how there could be a sequel. Something had me uneasy about it. Gladly, other than some vagueness in the early parts that I’ve covered, I was very pleasantly surprised.
WHAT I LIKED:
Vincent Price, starting as a man given a new lease of life, then progressing through madness and murderous rage toward his ultimate goal. All of the main actors did well, actually. Other than Price, I’d say my favorite performance was Cecil Kellaway’s, as Scotland Yard’s Inspector Sampson. I also liked Nan Grey as Helen. I wasn’t familiar with her and was quite fond by the end.
The special effects were genuinely impressive. I’m not unfamiliar with practical trickery and old school post-production image manipulation, but there are shots where I really couldn’t begin to figure out on my own how they’d pulled them off. A favorite of mine is when Inspector Sampson is trying to calm Cobb down after escaping the invisible Radcliffe in an upstairs room. Sampson’s been giving people cigars the whole movie, so he gives one to Cobb as he smokes his own.
The inspector finishes a sentence, takes a big pull off his cigar, and blows it to the side of them—exposing the vague outline of a human form where nothing is visible, then that form turns its only-now-visible head. The smoke wafts around perfectly, suggesting the form without being too clear. I have to assume this shot and the next sequence I’ll describe were very influential on the obvious, loose Invisible Man remake, Hollow Man. More than the original film even.
My favorite chunk of the film begins with this blown smoke effect, which also touches on my favorite thing about the film—use of particles and other things to make the Invisible Man somewhat visible. After the inspector blows his cigar smoke at the invisible Radcliffe, he goes for a judo dive to grapple him into submission and make the big arrest. He misses and Radcliffe hides again, possibly in plain sight once more, but the inspector’s suspicions are confirmed—the man is actually invisible, and he can be seen with environmental tricks.
As rain pours down, Inspector Sampson receives special equipment delivery and has a team of policemen don gasmask rigs and smoke-throwers, then fill the house they’re in with fog machine-like smoke. Radcliffe had escaped out into the rainstorm apparently, because two police see his outline—from rain pelting his naked body—as he sneaks back in through a side door to the building Cobb is being held in.
Once inside again, we see the heavily geared policemen advancing down a corridor, smoke pouring from their throwers. A shot from behind them shows the smoke-outlined body of Radcliffe attack a policeman, knocking him out and disappearing into a room with him.
We move to Helen, worried as always. One of the geared, gasmask wearing policemen approaches her in a hallway, Radcliffe using the body and head covering gear of the man he knocked out to be invisible in a different way.
I love that whole sequence and wish there was a bit more of that kind of cleverness throughout.
Also, it’s actually pretty funny if you pay attention to the way things are phrased at certain points.
WHAT I DIDN’T LIKE:
Vincent Price takes top spot here as well, but not because he isn’t good. As a man wronged and trying to make things right, he does a fine job balancing that with the madness and anger the invisibility agent causes. I think I just really loved the barely-contained rage and Claude Rains’ delivery in the first film, as I feel it captured the novel’s Griffin really well. I know this is a different character, but I also felt this character was a little more light-hearted, then almost comically maniacal at times with barely any attention paid to transition. Which leads to my other issue…
Things happen a little too easily or conveniently sometimes. Even the best shot, the smoke blowing reveal, is a little too easy. How did the inspector know he was there? They also set up him giving cigars to at least two people, but I’m not sure if that was just to call attention to his own smoking so it would be in the audience’s mind in time for him to execute his brilliant smoke maneuver.
The pacing and build. It’s not boring before it, but things don’t really pick up until almost exactly halfway through the film. I understand the classic script structure halfway point power swap aspect, but in this it dramatically improves the film overall, instead of strengthening the arc of the protagonist in an already interesting plot. Radcliffe starts investigating who actually killed his brother, starting with a drunk former night watchman named Willie Spears (Alan Napier, in a fun performance) who Cobb has made superintendent of the Radcliffe mining operation. This is also where the audience starts to be shown possible motivations of those who have framed Radcliffe. It doesn’t ruin it, but this half and half feeling leads to an uneven presentation, even with rising action taken into account.
The ending. As I said, spoilery is my stock-in-trade today. Griffin dies in the first story, beaten by a mob in the novel, and shot in the film. His body is revealed after death, which I feel is poetic and tragic and part of why it works well. In The Invisible Man Returns, as far as we are shown, Radcliffe lives and there’s swelling music and it’s a relief and all that (even though Frank Griffin just said Radcliffe would die without surgery, but that’s none of my business…). I’m not saying I wanted a sad moral tale of an ending, but once again it did feel a bit too easy. I take into account that this character’s story is quite a different one with different motivations and crimes, as I said in the beginning myself, but something in-between might’ve felt more appropriate for the tone they’d set as the film went on.
This film is entertaining, decently thrilling, has fantastic special effects, and has some genuinely funny moments sprinkled in too.
I’ll give The Invisible Man Returns 7/10.
PATRICK LOVELAND writes screenplays, novels, and shorter prose fiction. He also draws somewhat disturbing imagery on Post-its. By day, he schedules classes, helps instructors get set up for class sessions, possibly draws said weird Post-its, and moves many furniture’s at a state college in Southern California where he lives with his wife and young daughter. His stories have appeared in anthologies published by April Moon Books, Bold Venture Press, and the award-winning Crime Factory zine. Patrick Loveland’s first novel, A TEAR IN THE VEIL, will be published in late 2016 by April Moon Books. You can connect with Patrick on Twitter: https://twitter.com/pmloveland Facebook: https://www.facebook.com/pmloveland/ Amazon: http://www.amazon.com/-/e/B00S78LF9M Or Blog [under construction]: https://patrickloveland.wordpress.com/
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July 20, 2016 | Categories: Horror, Reviews | Tags: 1940, author, Curt Siodmak, dark fiction, Guest author, H.G. Wells, Horror, horror reviews, movie reviews, Patrick Loveland, Radcliff, Reviews, Sir Cedric Hardwicke, The Invisible Man, The Invisible Man Returns, Universal Classics, Universal Monsters, Universal Monsters in Review, Universal Studios, Vincent Price | 4 Comments
Of all the Universal classics, The Invisible Man was one of the few I’d never taken the time to watch. This past weekend, I alleviated my curiosity and found myself, as you’ll note from the below review written by the fantastically talented Duncan Ralston, surprised how different the pace is from the other Universal films. This is a tale about a mad scientist, but instead of boring audiences with the details of his experiment gone awry, we delve into a sprawling story of madness and revenge. Some other notes I found interesting were the references to disfigurement, as The Great War was not far from the minds of screenwriters, becoming part of the cinematic landscape in the form of mangled images. The “disguise” of Jack in the opening of the film reminded me very much of some of the images from early silent pictures, such as 1928’s The Hands of Orlac or even 1925’s The Phantom of the Opera staring the Man of a Thousand Faces. Beyond here, there story for The Invisible Man takes on its own linage, more than about vengeance, and perhaps more in terms of madness and the things we (humanity) mettle in. Without further adieu, lets see what Mr. Ralston has in store for us.
The Invisible Man: Dabbling in Things Better Left Alone
By: Duncan Ralston
Something I’ve heard a lot these days is that old movies are too slow, too boring. This is sometimes a fair criticism. In modern movies, it’s argued, the viewer is shown only the scenes they need. Countless movies prior to the 1980s give us scenes and dialogue unnecessary to move the story forward.
The Invisible Man is not that movie.
Smoke swirls in a howling wind as the credits play, introducing the main character as “the Invisible One,” rather than the Invisible Man. He blows into the Lion’s Head Inn on a snow storm, wrapped for the cold in a long trench coat, full face wrap, dark goggles and gloves. The tavern regulars gape at him. While the housemistress takes him upstairs, the regulars theorize about him, small town gossip: he’s an escaped convict, or he’s snow blind, or he’s disfigured. She catches him with the lower part of his wrap off his face, and tells people he’s been in a horrible accident.
From here, we discover what happened to the Invisible One. Jack, a scientist, has been missing for a month. His fiance and partners are worried about him, as he left a note saying he would return when he’s solved his predicament. The scene with the scientists is a bit of an info dump, but it’s not very long before we’re back with the Invisible Man we now know as “Jack.” He’s working on an antidote at the Lion’s Head Inn, but he keeps getting interrupted. He finally reveals his invisibility, pushing her husband down the stairs, throwing things and knocking stuff over during his escape. He steals someone’s bike and peddles off on it, fully invisible.
The thing that struck me most about this movie is how fast-paced it is. There’s a remarkable amount of story and character thrown into its hour and ten minute runtime, and yet it doesn’t feel rushed. Some scenes play out quickly, others are allowed to linger.
Another great bit is all the “poltergeist”-type wire gags, where Invisible Jack moves objects, has tantrums, beats people up, and prances around laughing like Scrooge on Christmas morning. These scenes are great fun, and look surprisingly good for the era. The effects don’t work quite so well when Jack is clothed while invisible, a black outline around his clothing unable to be removed during rotoscoping. These scenes were at first considered “unfilmable,” and effects work took up four months of production. Effects guru John Fulton said when he was given the script in 1933, “It bristled with difficult special process scenes, and I wondered if, even with our modern process techniques we could possibly make all the amazing scenes called for.”
Once Jack’s evil plan is unveiled–which amounts to causing general mayhem, such as murder (“small at first”), and derailing trains–the police are hot on his trail. The montages of the police plotting and executing his capture are brilliantly paced, and the police don’t lose him due to Keystone Cop shenanigans, as one might expect in an older movie. They’ve conceived a decent plan, and only fail initially because of an accident of fate. Something I thought while watching these scenes is that they might have formed the foundation for every Authority Against the Vigilante sequence in almost every modern superhero movie.
I haven’t read H.G. Wells’s The Invisible Man in maybe 20 years, but from what I remember of it, it differs a lot from this adaptation. For one thing, I remember a lot of Jack dealing with his predicament, where in the 1933 Universal film most of that is cut in favor of action. But maybe I’m mixing this up with Richard Matheson’s The Incredible Shrinking Man. I do recall he was seeking revenge at one point on the partner who betrayed him? Stole his work? I don’t recall. Revenge is only briefly touched on in the movie, but for a different reason.
All in all, Universal’s The Invisible Man is an entertaining film that suffers slightly from a few corny lines, female roles that border on the “hysterical” (not hysterical ha ha, hysterical as in screaming at every opportunity), and by starting in media res, with Jack already a maniac, it doesn’t quite work as a tragedy.
Those few flaws aside, The Invisible Man is well worth a watch. It must have been a Herculean undertaking to put this film together using the practical effects at the time, and for audiences to have believed they’d actually seen an invisible man, as some critics mentioned, is something few modern movies with effects costing multiple millions can manage.
Duncan Ralston is not just a wonderful human being, but also the author of Salvage: A Ghost Story, and the horror collection, Gristle & Bone. He’s been published in a various of anthologies, including The Black Room Manuscripts and The Animal, and the upcoming anthology, Easter Eggs and Bunny Boilers. You can follow and chat with him at www.facebook.com/duncanralstonfiction and www.duncanralston.com.