THE MUMMY (1932) -- Movie Review by Porfle

 

Originally posted on 3/5/17

 

THE MUMMY (1932) stars Boris Karloff, receiving sole over-the-title billing here only a year after FRANKENSTEIN plucked him from relative obscurity.

He plays Im-ho-tep, an Egyptian high priest who was mummified alive for the sacrilege of trying to use the Scroll of Thoth to bring his dead Princess Ankh-es-en-amon back to life.

Thousands of years later his tomb is discovered by archeologists led by Sir Joseph Whemple (Arthur Byron), and when a junior member of the team reads aloud from the Scroll of Thoth, the mummified Im-ho-tep returns to life in one of the creepiest and coolest scenes in the Golden Age of Horror. 

The poor assistant is driven stark raving mad when the crumbling corpse emerges from his sarcophagus, grabs the scroll, and shuffles off to Buffalo (or its Egyptian equivalent, anyway), bestowing screen immortality upon the actor, Bramwell Fletcher, playing the unfortunate lad who would later die laughing in an insane asylum.

Jack Pierce's makeup job on Karloff here is magnificent, but after one really great close-up (a dummy is used in the wide shots), we never get to see it again.

For the rest of the film Karloff appears sans wrappings (but with another fine, densely-wrinkled makeup job by Pierce) under the guise of the fez-headed Ardeth Bay, a mysterious Egyptian who shows up years later to lead the archeological team of Whemple's son Frank (David Manners) straight to the tomb of Princess Ankh-es-en-amon.

With the recovery of her mummy and the Scroll of Thoth, Ardeth Bay plans to bring his ancient princess back to life--until he discovers that her soul has been reincarnated in the body of young Helen Grosvenor (the fascinatingly-eccentric actress Zita Johann), whom he now begins to lure into his sinister clutches.

Sir Joseph Whemple and his son Frank discover Bay's intentions and try to foil them, with the help of a wise old expert in the Egyptian occult named Dr. Muller (Edward Van Sloan).

Unlike FRANKENSTEIN and THE WOLF MAN, there was no basis in literature or folklore for the character of the living mummy. In fact, the original script by Nina Wilcox Putnam was based on the life of French mystic Cagliostro, who claimed to have been several centuries old.

But due to the sensation caused by the discovery of King Tut's tomb, the script was changed to take advantage of the public's mummy-mania at the time and present Karloff as the undying Im-ho-tep.

It was also heavily influenced by the previous year's DRACULA with Bela Lugosi, containing many of the same story elements right down to the almost-identical characters played by Edward Van Sloan and David Manners, and the replacement of the crucifix with an Egyptian ankh as a talisman against evil.

The cinematographer on DRACULA and a major influence on its look (especially in the early scenes in Dracula's castle) was German filmmaker Karl Freund, and THE MUMMY marked his first official stint in the director's chair.

He gave the film its beautifully somber, almost expressionistic look and a deliberately-paced restraint that make it--as it has been called--a "tone poem" of horror as opposed to the more lurid and over-the-top offerings in the genre.

Today, unfortunately, many viewers find it too slow and boring to sit through. But those whose attention spans encompass an old-style form of storytelling that offers a wealth of exquisite subtlety and mood over visceral sensation, not to mention a great performance by Karloff, will most likely find THE MUMMY to be one of the finest horror films ever made.


Read our overview of the entire original Universal Mummy series

THE MUMMY (1932)
http://hkfilmnews.blogspot.com/2017/03/the-mummy-1932-movie-review-by-porfle.html

THE MUMMY'S HAND (1940)
http://hkfilmnews.blogspot.com/2017/03/the-mummys-hand-1940-movie-review-by.html

THE MUMMY'S TOMB (1942)
http://hkfilmnews.blogspot.com/2017/03/the-mummys-tomb-1942-movie-review-by.html

THE MUMMY'S GHOST (1944)
http://hkfilmnews.blogspot.com/2017/03/the-mummys-ghost-1944-movie-review-by.html

THE MUMMY'S CURSE (1944)
http://hkfilmnews.blogspot.com/2017/03/the-mummys-curse-1944-movie-review-by.html

THE MUMMY (1932) -- Movie Review by Porfle

ISLAND OF LOST SOULS (1932) -- Movie Review by Porfle

 

 

Originally posted on 4/10/21

 

Currently rewatching: ISLAND OF LOST SOULS (1932). One of the most grotesque and truly horrifying films of the Golden Age of Horror. 

 

Paramount set out to match Universal after that studio's previous year's successes with "Dracula" and "Frankenstein" by adapting another classic novel, H.G. Wells' "The Island of Dr. Moreau", and ended up creating a film so dark and so shocking that it has lost little if any of its power. 

 

Erle C. Kenton ("House of Frankenstein", "House of Dracula") proves once more that he was hardly just a hack director by making this a lavishly decadent, often nightmarish viewing experience.

 

 

 

Edward Parker (Richard Arlen) survives a shipwreck only to end up on the uncharted island of mad scientist Dr. Moreau (Charles Laughton at his best) who, through his techniques of accelerated evolution, transforms animals into tortured, pathetic animal/human hybrids.

 

These creatures are terrifying thanks to convincing performances (not the least of which being Bela Lugosi as a wolf man who acts as the keeper of the law taught to them by their cruel master Moreau (thou shalt not run on all fours, thou shalt not eat meat, thou shalt not spill blood, etc.) and a makeup department that had a field day creating a host of some of the screen's most frightening visages.

 

Things get even weirder when Moreau decides to test just how much of a woman his Panther Woman (the exotic Kathleen Burke) really is by introducing her to Arlen in a scene that practically oozes with pheromones. 

 

 

 

The film crackles with menace as the jungle surrounding Moreau's house is always crawling with the most wretched of creatures who are constantly on the verge of fully reverting to savagery and descending upon the island's human inhabitants.

 

When this finally occurs during the exciting finale, Moreau finds himself in danger of discovering why his "House of Pain" (the manimals' name for his laboratory) is a place of such terror and dread.

 

Leila Hyams and Paul Hurst also appear as Parker's bride-to-be and a captain who brings her to the island in search of her love. Arlen's a likable hero and Kathleen Burke both fascinating and heartbreaking in her character's yearning to be loved as a human female.

 

 

 

Laughton, of course, feasts upon the jungle scenery as a brazenly warped narcissist who revels in his own perversions and awaits the day he can return to shock the daylights out of those who have doubted and exiled him. 

 

As such, he shares a trait or two with ISLAND OF LOST SOULS itself, a film that shocks and horrifies its audience with giddy and almost human delight.

 

 

(NOTE: Thanks to Mark French for the heads up.) 

 

ISLAND OF LOST SOULS (1932) -- Movie Review by Porfle

The Three Undead Brides Of "Dracula" (Bela Lugosi, 1931) (video)

One of the eeriest aspects of the 1931 "Dracula"...

...is the sight of his three ghostly, cadaverous brides.

Dorothy Tree
Geraldine Dvorak
Cornelia Thaw 

And with the Spanish version of the film...

...comes yet another ghostly trio.


I neither own nor claim any rights to this material.  Just having some fun with it.  Thanks for watching!

The Three Undead Brides Of "Dracula" (Bela Lugosi, 1931) (video)

THE BIG TRAIL -- DVD Review by Porfle

 Originally posted on 10/26/11

 

It's not every day you get to watch a 1930 blockbuster movie in widescreen, with enough sheer spectacle to leave even modern viewers breathless.  The movie in question is Raoul Walsh's Western epic THE BIG TRAIL, a young John Wayne's first starring role and a genuine treasure for Western fans.

Shot on 70mm film using an early widescreen process known as "Fox Grandeur", THE BIG TRAIL was expensive to shoot and expensive to project--new equipment had to be installed in theaters just to show it--and with the onset of the Great Depression, it seemed the "Fox Grandeur" process had come along at just the wrong time.  Only a couple of theaters in New York and Los Angeles ever exhibited the widescreen version, while everyone else saw a much less impressive 35mm Academy aspect ratio version that was filmed simutaneously.  It would be another two decades before Cinerama offered moviegoers such wide vistas again.

The story takes place as a cattle drive blazes the trail for a wagon train full of settlers bound to reach the land north of Oregon.  For five months, director Raoul Walsh and his crew filmed 185 full-sized Conestoga wagons (or "prairie schooners") and thousands of extras on a 2,000-mile trudge across five states, facing conditions much like those experienced by the actual pioneers.  The settings, including a bustling river town, a massive riverboat, and various outposts along the trail, are meticulously detailed and wonderfully authentic, as are the costumes, props, and all other aspects of the production. 



The 23-year-old John Wayne plays buckskin-clad Breck Coleman, a tall, good-natured frontiersman who hires on as the group's scout for two reasons.  One, he's infatuated with a lovely young pioneer woman named Ruth (Marguerite Churchill), who can't stand him, and two, he's sworn revenge against the burly bullwhacker Frack (a Bluto-like Tyrone Power, Sr.) and his weaselly henchman Lopez (Charles Stevens) for murdering his best friend in order to steal his valuable stock of wolf pelts.  To complicate things, these skunks are in cahoots with a lowdown riverboat gambler named Thorpe (Ian Keith), who is also smitten with Ruth and is looking for an opportunity to shoot Breck in the back somewhere along the trail.

The actors, from the stars down to the extras, all look and act as though they belong in that era, despite the sometimes stilted acting styles (a leftover from the silent era, along with the expository intertitles).  And when the settlers encounter various tribes of Indians along the way, both friendly and not-so-friendly, they definitely aren't refugees from central casting--they're the real thing.  Much of this film is like a window into the past because the Wild West as we know it still existed at the time this was made, and Walsh's cameras were there to record it in its gloriously uncivilized state.



Breathtaking scenery and amazingly rich tableaux fill the screen throughout the film, with wagons, horses, and cattle often stretching as far as the eye can see.  One sequence shows the wagon train during a harrowing river crossing, while another details the grueling task of lowering the wagons, livestock, and people down the face of a sheer cliff by ropes.  We also get the obligatory "circling the wagons" scene (never as well-done as it is here) as the hostile Cheyenne attack and the settlers fight desperately to repel them. 

The excitement comes from knowing that these events are actually taking place and not being simulated by special effects or augmented by CGI.  From the rolling hills and mountains of the midwest, through miles of burning desert, and finally to the lush, majestic redwood forests (with a brief stop-off at the Grand Canyon along the way), the genuine locations used for THE BIG TRAIL are a non-stop feast for the eyes.

As Bill Cooke recently stated on the Classic Horror Film Board, "John Wayne may be a little rough in his first acting role, but was never more charming."  The financial failure of THE BIG TRAIL would relegate Wayne to a long string of B-movies until his breakthrough role as "The Ringo Kid" in John Ford's 1939 classic STAGECOACH, but his Breck Coleman character is just as likable and appealing as any he ever played.  He's earnestly convincing whether palavering with his friends the Indians, bashfully courting the gal of his fancy, or stalking his best friend's killers with deadly determination.



Marguerite Churchill, whom I always liked as Otto Kruger's sassy secretary in DRACULA'S DAUGHTER (1936), is winsome as the girl Breck must try his darndest to win over.  As the loathesome Frack, Tyrone Power, Sr. is almost cartoonishly villainous, but he's a formidable bad guy nonetheless.  Tully Marshall is outstanding as Breck's pal, the aging frontiersman Zeke, while vaudeville comedian El Brendel provides love-it-or-hate-it comedy relief as a Swedish doofus named Gus who is constantly being harangued along the way by his tyrannical mother-in-law.

20th Century Fox's 2-disc DVD of this restored version of THE BIG TRAIL is a real treat for fans of John Wayne and of Westerns in general.  Despite some rough patches here and there, the film looks great and is always visually impressive.  Four informative featurettes and some photo galleries make for interesting supplemental viewing, although the same can't be said, unfortunately, for Richard Schickel's boring commentary track.  The second disc contains the standard fullscreen version, which is interesting for comparative purposes although you probably won't care to sit through the whole thing after watching the widescreen version.

For me, the combination of a great Western adventure with the novelty value of seeing a beautiful widescreen film shot in the early days of talking pictures is a thrill that's hard to beat.  Add to this the opportunity to watch John Wayne shine in his starring debut and director Raoul Walsh at the height of his creative skills, and you've got THE BIG TRAIL--surely one of the most spectacular and irresistibly entertaining Westerns ever made.  To borrow another quote from Bill Cooke:  "By the time this one is over, you actually feel as if you've taken a wagon train out West."

THE BIG TRAIL -- DVD Review by Porfle

Failed Stunt Used In John Wayne Western "The Trail Beyond" (1934) (video)

Lone Star studios hated to waste footage...

...so failed stunts were worked into the action whenever possible.

Here's an exciting one from John Wayne's 1934 western THE TRAIL BEYOND, performed by either Yakima Canutt or Eddie Parker. (Looks like Eddie.)

 

Video by Porfle Popnecker. I neither own nor claim any rights to this material. Just having some fun with it. Thanks for watching!

Failed Stunt Used In John Wayne Western "The Trail Beyond" (1934) (video)

MOVIOLA: THE SCARLETT O'HARA WAR -- Movie Review by Porfle



( "GONE WITH THE WIND 75TH ANNIVERSARY ULTIMATE COLLECTOR'S EDITION" from Warner Bros. Home Entertainment is loaded with extras, one of which is the following film in its entirety.)

Originally posted on 10/3/14

 

Back in the crazy days of my youth when I was known to do such things, I read a book by Garson Kanin called "Moviola." It consisted of three novellas, highly fictionalized accounts of actual events in three different eras of what we know as Hollywood. In 1980, the book was turned into a mini-series which aired on NBC-TV over three nights. These three segments now exist as individual TV-movies, sometimes with the word "Moviola" in the titles, sometimes not.

The first and last segments (chronologically) are known as "Moviola: The Silent Lovers", which tells the story of Greta Garbo and her ill-fated lover John Gilbert, a silent actor with a voice unsuited for "talkies", and "Moviola: This Year's Blonde", a glitzy biography of 50s bombshell Marilyn Monroe. Between these two eras, representing a Hollywood which was in 1939 at its creative and financial peak, is perhaps the most entertaining of the three, MOVIOLA: THE SCARLETT O'HARA WAR.

Modestly mounted, relatively sedate, and much smaller in scale than the real-life events must have been, the film adequately dramatizes the details behind legendary producer David O. Selznick's most gargantuan (I so rarely have an opportunity to use that word in a sentence) undertaking, a daring screen adaptation of Margaret Mitchell's runaway bestselling Civil War novel "Gone With the Wind" which would eventually become the highest-grossing and most popular movie of all time.

Selznick's search for the perfect actress to play sought-after lead role Scarlett O'Hara is thus turned into an amusing and mildly absorbing comedy-drama-soap opera of movie moguls, actresses, and agents (and various other Hollywood types) all trying to outmaneuver each other.

The story is played mostly for grins as both seasoned pros and young, unknown starlets all vie for the plum role of Scarlett O'Hara in Selznick's impending blockbuster. Some try to charm and even sleep their way into the role while others, like Joan Crawford, wield what power and influence they may have.

But it's all for naught when, during filming of the burning of Atlanta (in which a stand-in was used as the hitherto uncast Scarlett), Selznick first lays eyes on British actress Vivien Leigh, a chance discovery made by his agent brother Myron. After that historic moment, all bets are off.

Before this, however, comes the film's centerpiece--an extended party sequence in which Selznick has gathered all the prospective Scarletts together in one place. This scenario is rich in cattiness and can probably be truly appreciated only by those already interested in the story and the people involved.

For anyone who doesn't remember or care about these former superstars of film, or the inner machinations of big-studio Hollywood filmmaking in general, I imagine that the entire sequence will just sit there like an unloved Jello mold while they wonder what the big fuss was all about. Others, however, may find themselves savoring every nuance.

A parade of low-level TV stars do their best to portray these film legends, which somehow manages to assume its own kind of charm. Edward Winter, known mainly as Colonel Flagg on TV's "MASH", tackles the role of dashing alpha male Clark Gable in amusing style, while "Cagney and Lacey" co-star Sharon Gless takes a wild shot at being his beloved and equally famous wife Carole Lombard.

I barely recognize some of the minor players filling in for the likes of Joan Crawford, Katharine Hepburn, Paulette Goddard, Jean Arthur, Miriam Hopkins, Lucille Ball, etc. but they give it the old college try. Some of the casting choices are puzzling--I don't see Charlie Chaplin in actor Clive Revill (GENTLEMEN BRONCOS) at all--while others, including Tony Curtis as an unflappable David O. Selznick and Carrie Nye as Tallulah Bankhead, are right on the mark.

Other familiar faces include Bill Macy ("Maude"), George Furth (BLAZING SADDLES), and Harold Gould as Selznick's father-in-law, MGM chief Louis B. Mayer. A brief appearance by a popular TV actress of the time, Morgan Brittany ("Dallas"), as Vivien Leigh brings the story to a pleasing albeit curiously anti-climactic ending.

Having recently watched a lot of documentary material on the subject, I found MOVIOLA: THE SCARLETT O'HARA WAR to be an unspectacular yet enjoyable "Reader's Digest" version that's easy to take. And for anyone who saw it when first broadcast almost 35 years ago, its modest appeal will be enhanced by a dash of nostalgia.

Read our review of  "Gone With the Wind" HERE.

Full coverage of the "Gone with the Wind 75th Anniversary Ultimate Collector’s Edition" can be found HERE.


Stream rare and hard-to-find movies and TV shows at Warner Archive Instant; purchase discs at Warner Archive Collection. Even more at www.wbshop.com or www.wbultra.com

MOVIOLA: THE SCARLETT O'HARA WAR -- Movie Review by Porfle

Jean Harlow Dies During "SARATOGA" (1937), Stand-In Completes Scenes (Video)

 

Blonde bombshell Jean Harlow died in 1937 at the youthful age of 26.

The picture she was making with Clark Gable, SARATOGA, was incomplete.

Rather than recast, the studio finished her scenes using stand-in Mary Dees.

This was used as part of the picture's publicity campaign.  

I neither own nor claim any rights to this material.  Just having some fun with it. Thanks for watching!

 

Jean Harlow Dies During "SARATOGA" (1937), Stand-In Completes Scenes (Video)

Crazy Cowgirl Dance in "WHOOPEE!" (1930)(video)

Broadway star Ethel Shutta takes the ranch hands by dust-storm...

...with an unhinged dance in cowgirl boots and ten-gallon hat...

...that has her corkscrewing like a Texas twister.


I neither own nor claim any rights to this material.  Just having some fun with it.  Thanks for watching!

Crazy Cowgirl Dance in "WHOOPEE!" (1930)(video)

Porfle's Trivia Quiz #17: "BONNIE AND CLYDE" (1967) (video)

"Bonnie and Clyde" is one of the best films of the 60s.

Directed by Arthur Penn, it was acclaimed as a new and exciting kind of filmmaking...

...which is still just as fresh today as it was then.
 

Question: What Is Bonnie's occupation when she meets Clyde?

A. Secretary
B. Waitress
C. Librarian
D. Grocery clerk
E. Unemployed

Question: What auto trouble does C.W. Moss (Michael J. Pollard) fix?

A. Busted water pump
B. Sugar in the gas tank
C. Dirt in the fuel line
D. Battery corrosion
E. Leaky radiator

Question: What is the occupation of Eugene Grizzard (Gene Wilder)?

A. Butcher
B. Policeman
C. Undertaker
D. Lawyer
E. Prison guard

Question: What are Bonnie and Clyde eating in the last scene?

A. Pear
B. Apple
C. Peanuts
D. Grapes
E. Mango

I neither own nor claim any rights to this material.  Just having some fun with it. Thanks for watching!

Porfle's Trivia Quiz #17: "BONNIE AND CLYDE" (1967) (video)