Parmount Pictures recently created a new YouTube channel, The Paramount Vault, which streams free films from the studio’s library. Along with clips from classic titles, there are approximately 150 full length movies. Of course, these are not premium titles but lower end stuff for which services such as Netflix might not be inclined to pay licensing fees. However, there are some horror and science fiction films that might be of interest to cult movie enthusiasts and completists: THE COLOSSUS OF NEW YORK, THE SPACE CHILDREN, CONQUEST OF SPACE, THE DEADLY BEES, CRACK IN THE WORLD, BENEATH, THE SENDER, etc.
The Paramount Vault divides its titles into playlists. You can find science fiction films here and horror films here.
Films worth checking out include I MARRIED A MONSTER FROM OUTER SPACE (an tense little thriller despite the title); THE TEXAS CHAINSAW MASSACRE 2 (a gore-filled sequel to the cult original); IN DREAMS (Neil Jordan’s psychic thriller); and SHANKS (an oddity starring mime Marcel Marceau). And of course fans of ’80s cheese from Cannon Films should get a kick out of MASTERS OF THE UNIVERSE.
Note: The Paramount Vault YouTube channel is not to be confused with the Paramount Pictures YouTube channel. The former is a library of archival titles; the latter offers trailer and promotional videos for Paramount’s upcoming releases.
If you are expecting an exciting, tongue-in-cheek thrill ride with gallons of ridiculous gore, you are one-fourth right.
If you sit down to watch a film called Tokyo Gore Police, you certainly have no one to blame but yourself, right? It’s not as if you had no idea what you were in for. Or maybe you didn’t. You could have been expecting an exciting, tongue-in-cheek thrill ride with gallons of ridiculous gore. In which case, you were one-fourth right. Although blood flows freely, excitement and thrills are in short supply; as for the tongue, it’s been ripped from the cheek and tossed out the window.
The story, such as it is, follows Ruka (Eihi Shiina), who is your standard-issue tough but troubled ass-kicking hot chick. She’s part of an elite police unit that handles a new kind of criminal, who sprout weaponry from wounds inflicted upon them. (And you thought Hercules had it bad with the Hydra!)
Before delving any deeper into Tokyo Gore Police, I should pause to acknowledge that, if you are interested in seeing it, you probably don’t care about any plot deficiencies I may be about to enumerate. Which is fine by me: nonsense cinema can be fun.
However, there is a more fundamental problem, which supersedes narrative coherence: there’s really nothing Ruka does which comes close to justifying the high regard in which she is held by the other characters (and, indeed, by the film itself). It’s not as if there is anything about her skill with a sword to convince us that she could succeed where an armed squad of other police would fail. Sure, she kills all the mutant criminals, but that happens pretty much because the script says so.
The story follows Ruka’s quest to find the “Key Man,” who created the virus that turns criminals into “engineers” capable of transforming. He turns out to be one of those villains with a righteous cause, regardless of his methods. And considering the brutality of Ruka’s comrades (who are ruthlessly cracking down on everyone suspected of being an engineer), you can hardly blame the Key Man for hating the police (though he has a more specific reason as well).
His motivation ties in with Ruka’s decision to join the police, which stems from a childhood memory of seeing her father (also a policeman) murdered. Since then, she has been raised by her father’s colleague, who is also now the police chief and, hence, Ruka’s boss. Anyone want to take early bets on whether the chief turns out to have been involved in dad’s murder? No? Good, I figured you were too smart to fall for sucker action like that.
Eventually, Ruka gets infected, which turns out to be a good thing, because she can mutate a cool new arm and eye and turn the tables on her former colleagues after finding out that her dad was murdered precisely because he resisted police force privatization – though, to be frank, it’s not as if the film generates any real rooting interest in this regard.
Too a large extent, none of this matters, because the appeal of Tokyo Gore Police is based upon the weird mutations it can visualize for Ruka to slice to pieces. Strangely, as excessive as it it, Tokyo Gore Police falls short in this area, at least by its own standards, with certain effects – or at least types of effects – repeated. Make no mistakes: there is an abattoir full of mutant, mangled flesh on view, but after awhile it seems as if the writers ran of out ways for Ruka to dispatch the engineers.
The one small saving grace is that the film mimics the satirical tone of the original Robocop. Set in a vaguely fascist future, Tokyo Gore Police is sprinkled with TV adverts and public service announcements that are often morbidly funny (topics range from suicide to trendy wrist-cutting self-inflicted by happy teenage schoolgirls). Unfortunately, these scenes add up to approximately three minutes of the overlong 110-minute running time; you’re better of watching them on YouTube.
Center stage in all this is the “Tokyo Gore Police” (actually identified as the “Tokyo Police Corporation” in the film), whose ads show them mercilessly gunning down miscreants while jovially announcing to the camera, “We will protect you!” This is followed by a voice over extolling the virtues of privatizing the police force. The satirical emulation of mindless propaganda is as cutting as anything in Starship Troopers.
Sadly, Tokyo Gore Police has neither the resources nor the inclination to infuse this satire into the main body of the film, which thus fails to live up to its own best idea. Apparently, privatization hasn’t been particularly profitable, because Ruka’s “elite” police unit operates out of what looks like a dingy warehouse, with so little equipment and staff that, when it finally falls under attack late in the proceedings, you wonder why no criminals realized sooner that they could just walk in and start shooting. (If one were very generous, I suppose one could theorize that the intent was to show the discrepancy between the propaganda and the reality, but on screen it just looks as if the producers could not afford a set and some extras.)
Instead, all creativity goes into the engineers, who are truly a ghastly and disturbing menagerie, their mutated bodies, with suggestions of S&M and deviancy, like something out of a joint nightmare by David Lynch and Clive Barker. Seen as still photos, these images may intrigue the curious and the unwary, but ultimately the film has little idea what to do with these creatures besides set them up to be knocked down in a repetitious series of gore-infused fights scenes. Ultimately, Tokyo Gore Police would work better as a coffee table photo album, nestled somewhere below Giger’s Necronomicon, The Alien Life of Wayne Barlowe, and The Art of Olivia, all of which manage to be not only bizarre but also fascinating – a feat that eludes Tokyo Gore Police.
TOKYO GORE POLICE (Tôkyô zankoku keisatsu, 2008) Directed by Hoshihiro Nishimura. Written by Kengo Kaji, Maki Mizui, Yoshihiro Nishimura (English translation by J.J. Vallejo). Cast: Eihi Shiina, Itsuji Itao, Yukihide Benny, Jiji Bu, Ikuko Sawada. Unrated. 110 mins.
Blood, watery though it may be, is nonetheless much, much thicker than plot.
PSYCHO GOTHIC LOLITA is one of those films that must be seen to be believed – which is not the same as saying it “must” or even “should” be seen. Essentially, this is a vaguely futuristic, Japanese rip-off of KILL BILL, with a nod toward a Tokyo fashion trend that you can probably surmise from the title, filled with sound and fury but signifying very little. It’s not all bad, but the good parts can – and pretty much do – fit into the trailer.
After a briefly glimpsed exterior suggesting we’re in one of those gloomy movie worlds that might be the future or just an alternate reality, PSYCHO GOTHIC LOLITA gets immediately down to business, with its title character graphically killing a bunch of people in a nightclub before facing off with the female owner in a vengeful duel to the death.
Just in case you’ve never seen a Quentin Tarantino movie, I will not pause to explain that this sequence is essentially a reprise of the Crazy 88 episode from KILL BILL, VOLUME 1. I will also pause to explain that, individually and/or collaboratively, director Go Ohara and writer Hisakatsu Kuroki are no Quentin Tarantino. Taking cues only from the over-the-top violence, they do not bother to replicate KILL BILL’S time structure; instead, after the initial carnage, they settle into the monotonous rhythm of a bad porno movie, in which every scene of spewing bodily fluids is alternated with a dull dialogue scene that “advances” the “plot.”
Which amounts to this: Yuki (Rina Akiyama” and her father Jiro (Yurei Yanagi) are seeking revenge for the murder of Yuki’s mother. They talk about this during the plot scenes, without every really saying anything important. There is no trail of clues they seem to be following, nor any particular long-term strategy; they’re just plugging away at this one killing at a time. One presumes they are working their way up the pecking order of villains until they get to numero uno, but it scarcely matters.
Consequently, after the first ten minutes, you’ve pretty much seen the movie; everything else is repetition, except insofar as the fight scenes can upgrade the insanity with ever more outrageous invention, some of which are, admittedly, worth a chuckle (such as an umbrella that shoots like a rifle).
The gore effects – the real star of the show – are, of course, way – way – way beyond belief, which is good, because the watery read geysers are too fake to induce nausea, allowing us to laugh as Yuki slices and dices her way through her various targets.
There is a tiny break in the monotony when one of Yuki’s victims is being attacked by some thugs for unexplained reasons: Yuki must first kill the attackers before killing her victim. I guess the irony of her “rescuing” someone only to kill him is supposed to be amusing, but the effect would have been more effective if this had been the opening scene, before we knew what to expect from her.
The movie picks up a bit when Yuki confronts another young, hot female warrior, whose weapon serves double-duty as a cell phone, allowing her to chat with her boyfriend during the no-holds-barred death duel. It’s not much, but when you’re in a desert, any drop of water feels like an oasis.
In the last reel we get a “development” that is no doubt intended to suggest that there really is a “plot” to be developed: we finally learn the motivation of the murderers who killed Yuki’s mother. It has something to do with mom being a demon or something, whose energy of power the murders wanted (don’t quote me on this – the exposition was so perfunctory that I couldn’t bring myself to commit the details to memory).
This leads to the big finish, in which Jiro is kidnapped and put on a guillotine, forcing Yuki into a situation in which she figurative fights with one hand tied behind her back – or in this case, one hand holding a rope to prevent the blade from dropping on her father’s neck.
That this sounds suspenseful is a testament to my poor writing skills, which if they were up to par would clarify that the absurdity of the sequences utterly squelches any rooting interest. As Yuki battles back and forth, advancing and retreating, the blade goes up and down so many times that when it finally does fall, the inevitably has been forecast for what seems like hours, and the only emotional response is relief that an overextended sequence has finally come to an end. (And no, this does not count as a spoiler, because even without reading this, you would have seen what was coming long before it happened.)
Anyway, Yuki kills the bad guys, but in the way of Japanese films, we’re left feeling that maybe that’s not a good thing, because there was that demonic aspect to her mother, which – who knows? – might be hereditary or something. And anyway, Yuki’s an orphan now, and it’s not as if her mission in life has really helped her develop the skills to make friends, so she’s rather a lonely soul. But at least she still looks good in that Gothic Lolita garb, so what the hell, right?
The denoument provides another glimpse of a gloomy exterior, which reminds us that PSYCHO GOTHIC LOLITA is supposed to be something other than mundane in its setting, even though much of it looks as if it was shot on locations available to any student filmmaker (gymnasiums, warehouses, empty roads), often with available sunlight. At least the interiors occasionally show some stylization, with Bavaesque colors proudly beamed across the screen quite regardless of realistic light sources.
PSYCHO GOTHIC LOLITA is apparently part of a a Japanese splatter sub-genre that includes such titles as TOKYO GORE POLICE. The unabashed exploitation zeal of these films – in which blood, watery though it may be, is nonetheless much, much thicker than plot – has a certain charm – but not nearly enough to sustain a feature. We’d really all be much better off if the fight scenes from these films were repurposed as three-minute YouTube videos.
PSYCHO GOTHIC LOLITA (U.S home video title; a.k.a., GOSU RORI SHOKEININ [“Gothic & Lolita Psycho”], 2010). Directed by Go Ohara. Written by Hisakatsu Kuroki. Cast: Rina Akiyama, Ruito Aoyagi, Minami Tsuikui, Misaki Momose, Asami, Yukihide Benny, Jonny Caines. 88 mins.
This year marks The Batman’s 75th anniversary. Most of you will be aware the Batman character first appeared in Detective Comics Number 27, the May 1939 issue. As comic books then and now tend to be dated three months in advance, it probably hit the newsstands about mid-February or March of that year. The cover depicted The Batman swinging across the rooftops carrying a criminal in a decidedly dangerous looking headlock as his stunned accomplices looked on.
The character looked different in the early days: darker, sinister — more bat-like, with exaggerated ears and a stiff winged cape. He was the product of a young cartoonist from the Bronx named Bob Kane (Robert Kahn), who created the masked avenger with the help of Bill Finger.
Kane had been doing gag cartoons and a Terry and the Pirates inspired adventure feature for Detective and Adventure Comics when one of the editors (usually identified as Vin Sullivan) asked him if thought he could come up with a costumed hero. DC was interested in duplicating the success they were having with Superman. When told he might make as much as $700 dollars a month by doing so, Bob Kane became very interested. It was a Friday, and Kane said he’d have one ready Monday morning. He was not going to miss out on an opportunity like this.
Kane already had a vague idea of what he wanted to do. The editor had suggested the idea after seeing some Flash Gordon sketches Kane had done to hone his talents, which were more naturally inclined to cartooning rather then realistic figure drawing. The Hawkmen character in the Flash Gordon strip had captured Kane’s imagination, and he first thought of the new character as another concept of a winged man. After toying with the idea of calling the character Birdman, Kane recounted in later years that he went through his old notebooks and verified that in his famous ornithopter sketches, Leonardo DaVinci had intended the wings be shaped like a bat’s. The Bat-Man – now that sounded dramatic.
Kane originally depicted the new hero as wearing bright red leotard, a Zorro-like black mask, and mechanical batwings that he would use to swoop down upon criminals. He contacted his friend Milton ‘Bill’ Finger, part-time shoe salesman and an avid pulp magazine reader who Kane had hired as a ghost writer to help plot and write his Rusty and His Pals stories for Adventure Comics. Finger suggested Kane replace the cumbersome mechanical wings with a bat-winged cape, like the villain in the movie The Bat Whispers. He also urged him to make the tights a more somber gray, and to make the mask a cowl that covered the head. The eyes would be left blank like Lee Falk’s Phantom to give The Batman an extra touch of mystery. Kane agreed with Finger’s ideas, and added long pointed ears and a long-nosed mask that suggested the features of a bat. They added a belt that could carry gas vials and other equipment, as well as gloves, so that he would leave no identifying fingerprints.
Despite some misgivings about his sinister appearance, DC decided to try out the character. Some there had originally thought Superman was too outlandish to succeed, but he’d been a tremendous hit. Perhaps lighting would strike twice. So Bob Kane and Bill Finger went to work. As noted, Finger was pulp fan, and the then-inexperienced writer based the first story; The Case of the Chemical Syndicate on a Shadow novel, Partners in Peril (written by Theodore Tinsley under the Maxwell Grant house name).
Elements of pulp Zorro, the Shadow, and the Spider influenced The Batman, as did the origin of the pulp hero The Bat (likely written by Johnston McCulley, creator of Zorro). Chester Gould’s Dick Tracy comic strip would also have an influence as the series progressed.
Bruce Wayne’s name supposedly came from the Scots hero Robert the Bruce and Revolutionary War general Mad Anthony Wayne — but it also sounds a lot like Bob Kane! For Batman was Kane’s alter ego of sorts, a mysterious, romantic figure who was rich and athletic, virtuous yet not bound by laws or convention. He would be a hero made superhuman not by powers beyond those of mortal men, but by an incredible will and unceasing effort. He was the flip side of Superman, the dark contrast to his bright colors, not quite as unique perhaps, but all the more compelling because he was just within the bounds of possibility.
RADIO AND FILM
It seems odd that Batman never had a radio show of his own. He did appear on The Adventures of Superman, but not until 1945. On March 1st of that year, Superman rescued a boy adrift in a rowboat who proved to be Robin, the boy wonder. He tracked down and rescued the missing Batman, forming an enduring partnership. Batman and Robin became recurring characters on the show, largely so that Bud Collyer could take time off from playing Superman. Robin was always portrayed by Ronald Liss, but the part of Batman would be played by a number of actors, including Stacy Harris, Matt Crowely (the majority of appearances), and Garry Merrill. Superman radio announcer and character actor Jackson Beck (voice of Bluto in many Popeye cartoons) would play Alfred when needed, using a cockney accent to humorous effect.
An odd conceit of the radio series is that Bruce Wayne seemed to live in an upscale suburb of Metropolis, rather than a distant city. At first, Superman knows the true identities of Batman and Robin, but they don’t know his. When Clark Kent has to approach Bruce Wayne for Batman’s help, Wayne is hostile and suspicious, and Kent reluctantly reveals his Superman identity. It’s not clear if Robin is entrusted with the secret at that time.
What many people don’t know is that Batman had been suggested as a radio show before then. A script was written for a pilot Batman program entitled The Case of the Drowning Seal, and an audition disk was made in 1943. This was a wartime script ; the villains were Nazi agents and the destroyed towns of Lidice and Coventry are pointedly mentioned. It’s been a number of years since I read the material, but it was a rather different idea of Batman.
To differentiate Bruce Wayne from the Batman, the masked hero spoke with a British accent. The character’s costume was described as being simply a “horned” black mask and bat-like cape. Apparently( from the context of the script) this simply was worn over Bruce Wayne’s street clothes, and Batman seemed not to bother with gloves, since he identifies one of the Nazi agents previously encountered in darkness because he has oil on his face — the same black oil that the Batman got on his fist when he socked one of the villains on the jaw. Not too worried about the secret identity, it seems. This was perhaps because the Batman was something along the lines of a secret agent, known to the U.S. government.
This lack of concern about secrecy is also shown by the fact that Bruce Wayne is also dealing with the orphaned son of Bruce’s friends the Graysons, undercover FBI agents who have been murdered by the spies. The boy is named Robin Grayson, not Dick — which kind of makes the team of Batman and Robin a bit too obvious even for the most dim-witted of criminals. Radio historian Jack French informed me that Scott Douglas portrayed Batman in this version. The actor had also played the pulp and comic book character The Black Hood in a 1943 series on the Mutual Network, which carried Superman as well.
Batman may have struck out on Radio but he had leapt from the comic book pages and onto the silver screen with greater success. 1943 also saw the release of the Columbia serial BATMAN.
It was 15 chapters of low-budget slam-bang thrills, directed by Lambert Hillyer; primarily an action specialist who also directed atmospheric horror thrillers such as Dracula’s Daughter and The Invisible Ray. Batman was played by Lewis Wilson. (Crime fighting must run in the family, because his son Michael Wilson now produces the James Bond films). Robin was portrayed by juvenile actor Douglas Croft, who also appeared in a number of “A” features, most notably playing the young George M. Cohan in Yankee Doodle Dandy.
The part of Alfred the butler was played by William Austin, who was tall and slim, and wore a mustache –- quite the opposite of the comic book Alfred who was at that time depicted as short, chubby and clean-shaven.
None of the other comic book regulars appeared in the serial. There’s no Commissioner Gordon, instead the Batman enjoys teasing Captain Arnold (Charles C. Wilson, This Gun For Hire). Phased-out comic book girlfriend socialite-turned actress Julie Madison is replaced by medical secretary Linda Page, played by Shirley Patterson — who would later change her screen name to Shawn Smith and appear in 50’s faves such as The Land Unknown and It! The Terror from Beyond Space.
The serial must have impressed Bob Kane, who permanently changed the appearance of the Alfred character to resemble the actor. Linda Page (now a nurse) was introduced in the new Batman newspaper strip, and Captain Arnold would also make a few appearances. Other long-lasting adaptations included the Bat’s Cave of the movie, which became the Batcave, along with the idea of entering it through a grandfather clock, which the serial writers had cribbed from Zorro. It’s interesting to note that like the radio pilot, Bruce Wayne/Batman’s identity seems to be known to the government, and he is willing to undertake missions for them. (Likely this was a case of the film serial inspiring the radio series.)
There is no Batmobile, with the crimefighters getting around in Bruce Wayne’s sleek black Cadillac convertible. Alfred often serves as wheelman, and nervously dons disguises when needed to aid the caped crime-fighters.
The serial is a lot of fun, and rather well done by the standards of Columbia chapterplays. Actually, BATMAN was produced outside the studio by Rudolph Flothow (Ramar of The Jungle TV series) for Larry Darmour Productions, who handled Columbia’s serials and a number of their ‘series films’, such as Ellery Queen, Lone Wolf and Crime Doctor at the time — acting as an essentially independent B-Unit with their own off-lot soundstage facilities. When needed, they could rent the Columbia Ranch or the Warner Brother’s backlot.
BATMAN has a nice visual look to it for the budget, using fluid camera work and creative lighting by Director of Photography James S. Brown Jr. (Strangler of the Swamp 1946.). The villainous Dr. Daka’s (J. Caroll Naish House of Frankenstein) laboratory features a nice array of equipment, including Frankenstein electrical apparatus rented from Kenneth Strickfadden. With this, he can create human ‘zombies’; mind-controlled slaves to further his campaigns of sabotage and subversion. There’s also a nifty radium-powered ray pistol (which would show up years later in 1960’s Cape Canaveral Monsters), though it’s quickly captured by Batman and rendered moot, though the bad guys continue to hunt for radium to buld a larger version. Flash Gordon’s Ming the Merciless, Charles Middleton gets a rare good-guy role as a prospector friend of Bruce Wayne.
Lee Zahler provides a effective, if strident score, basing his main themes on darker motifs from Wagner’s Rienzi Overture, and likely other classic influences.
However, despite the positive things in its favor, there are some puzzling editing errors — such as keeping in a portion of a fight scene wherein Batman looses his cape, only have it back on following a cut-away to Alfred waiting in the car below. Logically, the place to put the edit would have been at the point where the hero begins to have cape trouble, rather than continuing to show the fighting sans cloak. A letter to Bruce Wayne from the government asking him to look into a aircaft plant is shown with a Los Angeles address, although the film is indeed set in Gotham City. The recent DVD release seems to have added an editing slip-up or two, possibly attempts at covering for missing or damaged footage. (Several of the chapters show damage or wear that has not been restored, digitally or otherwise. There’s a least one collector’s 16mm print that has a better copy of Chapter One.)
The film has run into trouble in recent decades due to its blatant wartime anti-Japanese fervor, but it’s still interesting viewing, and J. Carroll Naish’s gleefully depraved faux-Japanese Prince/Dr. Daka is a delight for fans of hammy screen villainy. At one time the only commercially available version of the serial had been redubbed to remove the many racial slurs, with announcer Gary Owens (Laugh-In) redoing the original narration by sportscaster Knox Manning. The Sony/Columbia DVD release restores the original, warts and all.
In 1949, after the success of their Superman serial, Columbia released BATMAN AND ROBIN (also as New Adventures of Batman and Robin) . This 15-chapter serial is not nearly as good as the ’43 version and is a poor successor to 48’s Superman, though director Spencer Gordon Bennett directed both. Much of the chapterplay’s failure is likely due to the low budget producer Sam Katzman allowed. Columbia would give serial producers a flat rate, how much of that wound up onscreen is another matter. The film seems rushed and haphazard, and its lead actors worn out by the frantic pace.
Actor Robert Lowery (The Mummy’s Ghost) was reportedly (in accounts by co-star Duncan) not too thrilled to be playing the tights-wearing comic book character. Johnny Duncan, who was in his twenties (and looked it) when he portrayed Robin the Boy Wonder, also related that he had to secretly help Lowery lace up a girdle in order to fit in his leotard. The eyes in the cowled mask were too small and didn’t line up well for Lowery; you can see him adjust the cowl several times onscreen. The ‘bat-ears/devil’s horns’ were floppy, leading Lowery to stuff them with cotton. Batman’s gloves give out early in the serial, and heavy work gloves are substituted –not matching the much darker finned gauntlets.
Robin wears a dark colored cape, possibly influenced by the green cape the character sported on the cover of Batman #1 (or not, it’s anybody’s guess). Lowery and Duncan gamely did their best to enliven the proceedings, and there are a few good moments, but the results are still pretty dire from today’s standpoint.
One pathetically amusing bit is that Batman and Robin usually drive around in Bruce Wayne’s gray `49 Mercury convertible, which is noted and draws a barbed on-screen comment by the comic book’s press photographer Vicki Vale, played by Jane Adams (House of Dracula). “Does Bruce Wayne know you’re driving his car?” This and other obvious tip-offs only make her mildly suspicious of her nominal boyfriend’s dual identity. Perhaps she was distracted by her never before seen brother Jimmy Vale (George Offerman, Jr.), a pilot with feet of clay who gets mixed up with the villains.
Hollywood veteran Lyle Talbot introduced the part of Commissioner Gordon to the screen, and a partially disassembled television set in his office was used as a “high-tech” electronic Bat Signal that could miraculously project out the window a bat insignia onto the clouds… in broad daylight.
In later years, Bob Kane reported visiting the production, when he asked to see the Batmobile (apparently in the script), had the convertible pointed out to him. His heart sank; apparently the producer had made a deal with the auto manufacturer, and they supplied the car for free — several times. John Duncan said the cars were used roughly by the actors and stunt men, and the local Ford dealer would just give them a new (or repaired) one to use when they broke down.
Showing the rushed and seemingly lackadaisical nature of the film, despite there being a Batcave set, Batman and Robin are shown at least once getting into the car in Bruce Wayne’s driveway. No Wayne Manor, the place looks like a junior exec’s nicely appointed but unpretentious suburban home, complete with neighbors walking by on the sidewalk. Instead, the wheel-chair bound inventor suspect gets the mansion.
With its reliance on the masked mystery villain The Wizard’s super-science Remote Control Ray, and other gadgetry, the film has something of the feel of Batman’s 1950’s daylight sci-fi adventures. On that basis, or for low-budget laughs, the serial can be enjoyed. Completists should be aware that Chapter One of the Sony/Columbia VHS tape is incomplete by several minutes, due to the tape being assembled from 16mm prints edited to make Super 8mm reduction prints for sale to collectors. I’m told the DVD release continues this omission, though I have not viewed it myself.
If the BATMAN AND ROBIN chapterplay might have been a disappointment to comic book fans, it appears to have done fairly well at the box office. Perhaps this is why another attempt at a Batman Radio show was made in1950.
The Batman Mystery Club was an audition disc made in September of that year. The story was called The Monster of Dumphrey’s Hall, and was written by Don Cameron, who wrote for the comics and the Batman newspaper strip. It was rediscovered by Fred Shay, of the National Broadcaster’s Hall of Fame. The series’ premise reflected Cameron’s interest in disproving superstitions, and opened with Robin addressing a group of kids, and introducing Bruce Wayne, the Batman to show them that the seemingly supernatural adventures they would encounter had purely natural explanations. Writer Cameron had been researching and writing a book about occultism, which might explain his motivations somewhat.
However, it’s kind of an odd and dry idea for an kid’s superhero show (hey kids, this whole spooky story we made you sit through is pure bunk), and it’s not too surprising that the pilot did not become a series. Ronald Liss reprised his role of Robin (just Robin, not Dick Grayson) from the Adventures of Superman, and Batman was played by John Emery, who had also portrayed Philo Vance on radio.
Reportedly, there was a Batman radio series in Argentina in the 1950’s starring Carlos Carella as the caped crusader. They only documentation I’ve found of this is an intriguing publicity still.
Though it might have seemed a natural spin-off, there was no Batman series to mirror the 1950’s Adventures of Superman TV show (although former Batman Robert Lowery would guest star in an episode, The Deadly Rock). Batman would have to wait until the 1960’s to hit the airwaves again.
And when he did, it would be a tidal wave.
In Dossier Fantastique, Volume 5, Number 32, Lawrence French and Steve Biodrowski analyze SIN CITY: A DAME TO KILL FOR. They also look at recent home video releases: THE WALKING DEAD, THE LEGEND OF HELL HOUSE on Blu-ray; and the 1980s version of THE TWILIGHT ZONE on DVD. Finally, after the closing credits, they forget to turn off the recorder and eventually wander off into a discussion of STAR TREK: THE MOTION PICTURE.
Sometimes doing the job is reward in itself. That’s what it was like for me to talk with Greg Nicotero. From DAWN OF THE DEAD to BREAKING BAD, from ARMY OF DARKNESS to OZ THE GREAT AND POWERFUL, from HOSTEL to SIN CITY: A DAME TO KILL FOR, his vivid and creative makeup effects work has brought the fantastic, the grotesque, and the sometimes-just-plain-realistic to a dazzling kaleidoscope of film and TV projects.
That includes THE WALKING DEAD, the blockbuster TV series which scooped up a couple of primetime Emmy awards for Nicotero’s work in bringing the flesh-hungry walkers to gruesome… uh, life? Death? Anyway, in honor of the release of the complete fourth season on DVD and Blu-ray this Tuesday, we got some time with Greg to talk about the finer points of zombie nurturing and care. Click on the player to hear the show.
It’s time to expand your Sense of Wonder by opening Dossier Fantastique! Volume 5:31 reveals data points on current theatrical releases THE GIVER and LIFE AFTER BETH. Listen in as special guest Andrea Lipinski joins the Cinefantastique Podcasting team of Lawrence French and Steve Biodrowski for an insight-filled discussion of the latest dystopian science fiction film – which may seem like a variation on THE HUNGER GAMES and DIVERGENT but which was actually based on a novel published before either of those franchises were a glimmer in their author’s eyes. Also available are details on this week’s home video releases.
In Dossier Fantastique 5:30, Lawrence French reviews TEENAGE MUTANT NINJA TURTLES and INTO THE STORM; Steve Biodrowski offers a 50th anniversary look back at THE LONG HAIR OF DEATH (1964), starring Barbara Steele; and the podcasting duo team up to discuss the week’s home video releases, including A HAUNTED HOUSE 2 and ONLY LOVERS LEFT ALIVE.
Let the hate mail begin!
In the grand tradition of Cinefantastique (dating back at least to the magazine’s review of STAR WARS), Lawrence French and Steve Biodrowski rake the blockbuster box office hit GUARDIANS OF THE GALAXY over the coals in this week’s Dossier Fantastique Podcast. Sure, it’s far from the worst movie ever made, nor does it deserve the unqualified adulation heaped on it by fans and critics alike. But at least Rocket the Raccoon is cute – and funny!
Afterwards, the CFQ podcasters offer a 50th anniversary appreciation of the low-budget science fiction film THE EARTH DIES SCREAMING (1964), directed by Terence Fisher. And of course there’s the usual rundown of the week’s home video releases, including DIVERGENT, OCULUS, and 30th anniversary Blu-ray disc of Brian DePalma’s PHANTOM OF THE PARADISE (1974).
Dossier Fantastique Volume 5, Number 28 opens to reveal data on this week’s horror, fantasy, and science fiction movies, television, and home video. Cinefantastique podcaster Lawrence French out-muscles HERCULES and explores the optics of I ORIGIN. Meanwhile, Steve Biodrowski attempts to apply 100% of his brain to LUCY, then visits HEMLOCK GROVE for its second season. After that, it’s a look at what’s new on DVD and Blu-ray, including NOAH – the best film of the year so far.