Supernal Dreams: Boris Karloff on THRILLER


Image Entertainment’s new 14-DVD set of 67 episodes of THRILLER is quite a marvelous treat, and it fits in perfectly with Cinefantastique’s celebration of  movies released in that seminal year for terror, 1960.
Among the impressive authors who wrote episodes for THRILLER were Robert Bloch, Richard Matheson, Charles Beaumont, Donald S. Sandford and Barre Lyndon.  The directors included such experienced hands as John Brahm, Laszlo Benedek, Ted Post, Douglas Heyes, Ray Milland, Herschel Daugherty and Ida Lupino.
Yet, what I find truly amazing about the series is the cornucopia of great Hollywood character actors who were featured on the show. Actors who were never “stars.” As Boris Karloff notes, “Isn’t it quite wonderful to use actors instead of ‘stars’ ” Indeed, it is and Thriller featured among many others, these fine actors, nearly all of whom had important roles in at least one classic horror movie:

  • John Carradine, Torin Thatcher, Beverly Garland, Vladimir Sokoloff and Martita Hunt
  • Jack Carson, Estelle Winwood, Everett Sloane, Edward Andrews and Mary Astor
  • Jeanette Nolan, Guy Rolfe, Judith Evelyn, John Williams and Hazel Court
  • Jane Greer, Henry Jones, Oscar Homolka, Warren Oates and Patrica Medina
  • Otto Kruger, Nancy Kelly, Eduardo Cianelli, Richard Carlson and Jo Van Fleet
  • Sidney Blackmer, William Windom, George Kennedy, Ann Todd and Henry Daniell

All of these people were truly wonderful character actors, but none of them were ever really “stars” so it was no surprise to find not one of them listed among the 20 actors featured on the back of the THRILLER box set.  I guess the PR “experts” think Donna Douglas, Tom Poston and Natalie Schafer are more exciting to genre fans, than John Carradine, Mary Astor and Henry Daniell!
Of course, since Henry Daniell nearly stole the show from Boris Karloff when the two actors appeared together in Val Lewton’s THE BODY SNATCHER, I’d like to make a special note of Daniell’s work on THRILLER here.
Mr. Daniell made five memorable appearances on Thriller,  playing among others, Count Cagliostro, Vicar Weatherford and Squire Moloch.  Sadly, Daniell and Karloff were not reunited in any episode of THRILLER, but since both Karloff and Daniell appeared in five episodes,  it’s interesting to note that Daniell’s episodes are of better quality than Karloff’s!  That certainly doesn’t mean the five episodes Karloff appeared in were bad, simply that most of them were less exciting than such classics at The Cheaters and The Well of Doom.

Boris Karloff in "The Incredible Dr. Markesan"
Boris Karloff in "The Incredible Dr. Markesan"

Actually, all of the five episodes Karloff appeared in were quite good. They included, The Prediction, The Premature Burial, The Last of the Sommervilles, Dialogues with Death and The Incredible Doktor Markesan. Dr. Markesan was beautifully directed by Robert Florey, who ironically, had been scheduled to direct Frankenstein before he was replaced by James Whale. If  Florey had directed Frankenstein, it’s quite possible he might easily have cast an actor other than Karloff as the monster!
To introduce Boris Karloff’s comments on THRILLER, here are some of Stephen King’s remarks from his book Danse Macabre. King calls Thriller the best horror series ever made for TV, but in reading his comments, anyone with knowledge of the genre may notice the staggering number of  factual mistakes he makes, which tend to mar his otherwise  intriguing observations: 
STEPHEN KING on THRILLER:
Probably the best horror series ever put on TV was Thriller. It ran on NBC from September of 1960 until the summer of 1962—really only two seasons plus reruns. It was a period before television began to face up to an increasing barrage of criticism about its depiction of violence, a barrage that really began with the JFK assassination, grew heavier following the assassinations of RFK and Martin Luther King and finally caused the medium to dissolve into a sticky syrup of situation comedies—history may record that dramatic television finally gave up the ghost and slid down the tubes with a hearty cry of “Na-noo, na-noo!”
The contemporaries of Thriller were also weekly bloodbaths; the time of The Untouchables, starring Robert Stack as the unflappable Eliot Ness and featuring the gruesome deaths of hoodlums without number (1959-1963); Peter Gunn (1958-1961); and Cain’s Hundred (1961-1962), to name just a few. It was TV’s violent era. As a result, after a slow first thirteen weeks, Thriller was able to become something other than the stock imitation of Alfred Hitchcock Presents that it was apparently meant to be (early episodes dealt with cheating husbands trying to hypnotize their wives into walking over high cliffs, poisoning Aunt Martha to inherit her fortune so that the gambling debts could be paid off, and all that tiresome sort of thing) and took on a tenebrous life of its own. For the brief period of its run between January of 1961 and April of 1962—perhaps fifty-six of its seventy-eight total episodes—it really was one of a kind, and its like was never seen on TV again.
Thriller was an anthology-format show (as all of the supernatural-terror TV programs which have enjoyed even a modicum of success have been) hosted by Boris Karloff. Karloff had appeared on TV before, after the Universal horror wave of the early to mid-thirties finally ran weakly out in that series of comedies in the late forties. This program, telecast on the fledgling ABC-TV network, had a brief run in the autumn of 1949. It was originally titled Starring Boris Karloff, fared no better following a title change to Mystery Playhouse Starring Boris Karloff, and was canceled. In feeling and tone, however, it was startlingly similar to Thriller, which came along eleven years later.
…Karloff was sixty-four at the beginning of Thriller’s two-year run, and not in the best of health; he suffered from a chronically bad back and had to wear weights to stand upright. Some of these infirmities dated back to his original film appearance as Frankenstein’s monster in 1932. He no longer starred in all the programs—many of the guest stars on the Thriller program were nonentities who went on to become full-fledged nobodies (one of those guest stars, Reggie Nalder, went on to play the vampire Barlow in the CBS-TV film version of ‘Salem’s Lot)—but fans will remember a few memorable occasions when he did (“The Strange Door,” for instance). The old magic was still there, still intact. Lugosi might have finished his career in misery and poverty but Karloff, despite a few embarrassments like Frankenstein 1970, went out as he came in:  as a gentleman.
Produced by William Frye, Thriller was the first television program to discover the goldmine in those back issues of Weird Tales, the memory of which had been kept alive up until then mostly in the hearts of fans, a few quickie paperback anthologies, and, of course, in those limited-edition Arkham House anthologies. One of the most significant things about the Thriller series from the standpoint of the horror fan was that it began to depend more and more upon the work of writers who had published in those “shudder pulps” …the writers who, in the period of the twenties, thirties, and forties, had begun to guide horror out of the Victorian-Edwardian ghost-story channel it had been in for so long, and toward our modern perception of what the horror story is and what it should do. Robert Bloch was represented by “The Hungry Glass,” a story in which the mirrors of an old house harbor a grisly secret; Robert E. Howard’s “Pigeons from Hell,” one of the finest horror stories of our century, was adapted, and remains the favorite of many who remember Thriller with fondness. Other episodes include “A Wig for Miss DeVore,” in which a red wig keeps an actress eternally young  …until the final five minutes of the program, when she loses it—and everything else.
Miss DeVore’s lined, sunken face; the young man staggering blindly down the stairs of the decaying bayou mansion with a hatchet buried in his head (“Pigeons from Hell”); the fellow who sees the faces of his fellow men and women turned into hideous monstrosities when he puts on a special pair of glasses (“The Cheaters,” from another Bloch story)—these may not have constituted fine art, but in Thriller’s run, we find those qualities coveted above all others by fans of the genre: a literate story coupled with the genuine desire to frighten viewers into spasms.
____________________________
BORIS KARLOFF on THRILLER:
These comments were compiled from various interviews Boris Karloff has given over the years for a special tribute program I put together in 2006  for a retrospective program of  Karloff films, for which Sara Karloff was the guest of honor. The Karloff retrospective was organized in San Francisco by Gary Meyer, currently the director of the Telluride Film Festival.


How do you determine what parts you’ll accept?

BORIS KARLOFF: I am quite shameless. If I am offered a part, I’ll have a go at it. I do not go seriously around trying to pick my own parts. That is dangerous. I could fancy myself playing all sorts of things. I could read a book and think, “I would be great in that,” but I don’t think you know what is best. I think it’s much better for somebody outside of yourself to choose the part. You can always say no, if it’s a bad part.
You did a TV series in which you played quite another type or role, didn’t you?
BORIS KARLOFF: Oh, yes, that was Colonel March of Scotland Yard. It was made in England during the winter of 1953 and ‘54.
Were they made for American audiences?
BORIS KARLOFF: Yes, they were made for the American market.

Did you enjoying making the TV series Thriller?

BORIS KARLOFF: Very much, indeed. The man who produced it, Bill Frye, is a very good friend of my wife and I.  I have great respect for him. I think he’s a wonderful producer and it’s a great loss to television, because he’s gone to Columbia to make films.
How did you initially get involved in doing Thriller?
thriller karloff hostBORIS KARLOFF: I just happened along, and they made this test film, which was called The Twisted Image. I do hope you won’t confuse me with the title. I wasn’t in it,  I just did the emceeing. I appear as myself, which is a frightful thing to do to an audience. They do it quite simply. I sort of intrude into the first scene and explain for example, that this nice looking couple is really in for quite a terrifying day, as you shall soon see and then I quietly slip out again. The producers then suggested that I might like to appear in some of the episodes, to which I was most agreeable, because it has been set up quite sensibly I think, as there is no set number of shows which I must do, you see. And it is quite wonderful to use actors instead of “stars”—that abused word that has ceased to have any meaning. It is a sad thing—the awful waste of potential talent you find today.

You have actually done quite a range of things outside of the horror category, haven’t you?

BORIS KARLOFF: That’s a dreadful word…  it’s the wrong word…
What term besides “horror” would you like to be applied to the films you work in?
BORIS KARLOFF: Well, I think the trapping was, in the early days when they first made these films, they were trying to get one word to express it, and they chose the word “horror.”  But the word “horror” has a connotation of revulsion. That’s what the word really means. Well the aim certainly is not to repel you, or to revolt you. It is to attract you. It’s to excite you. It’s to alarm you, perhaps. It’s excitement. I think the word should be thriller, really, or shock, but certainly not horror. So I think “Thriller” is quite the best word for this sort of thing, as the word “horror” has come to mean something else altogether. I mean, if it’s to be a horror show, they put some guts in a bucket and show it to you. That sort of thing, but a thriller, you see, can go anywhere. It’s not tied down to pure mystery, or violence, or murder. That’s one thing you won’t find on Thriller—violence for the sake of violence, shock for the sake of shock. The two skillful men who are in charge of this operation are going to prove that you can have all the suspense, mystery, adventure and excitement you could want, without resorting to violence.  I’m quite delighted with the whole thing.
You don’t live in Hollywood now, do you?
BORIS KARLOFF: No, I live in London.

In London, that’s right.

BORIS KARLOFF: And in airplanes! (Laughs).

Oh yes, commuting across the Atlantic.

BORIS KARLOFF: I flew a total of 12,000 miles (on a round-trip from London to Hollywood) to do one day’s work filming six of  the lead-in’s to Thriller. I thought it would take at least three days, and I must say I was flabbergasted that it only took one. It was filmed at Universal, on the same lot where 30 years earlier I played Frankenstein’s monster. In a way, it was like coming home again. The first season I only appeared in one episode, but it was a little tiresome to fly 12,000 miles just to read the teleprompter, so during the second season I appeared in four shows.

In 1953 you made an Italian film on the island of Ischia, called The Island Monster.

BORIS KARLOFF: Oh God, yes.

Do you remember much about it?

BORIS KARLOFF: No, I haven’t the least idea what it was like. Incredible! Dreadful! No one in the outfit spoke English, and I don’t speak Italian. Just hopeless. I had a very good time, but that’s beside the point.
Most of your recent films have been done for American International Pictures. How do you like working for them?
Boris Karloff with Peter Lorre and Vincent Price in AIP's THE RAVEN
Boris Karloff with Peter Lorre and Vincent Price in AIP's THE RAVEN

BORIS KARLOFF: Oh, they (James Nicholson and Samuel Arkoff, the heads of AIP) have been extremely considerate to me. They are very successful and intelligent men. They know their market and they know their field very well. I’m most grateful to them. Their films are beautifully mounted and photographed. They shoot them in about three weeks. How can they do them in that short amount of time? The answer is in the immense amount of preparation, the homework that is done before you ever get on the set and start shooting. That’s when all the money starts to roll out, the moment you assemble the whole thing on the set. Then, if you’re not ready, you’re throwing money out the window. They rent space at a studio, they have assembled one of the finest crews that I’ve ever known, and the crews in the studios out there are really marvelous. They anticipate everything, they are ahead of you, they take a pride in what they are doing, and believe me it makes a difference. Everything is there and ready right down to the last button so that there is no pressure on me as an actor. If I’ve played a scene badly and want to do it again, they say, “sure,” not, “oh, Christ we haven’t got the time.”
______
Obviously, Stephen King is a masterful writer of horror fiction, but one wishes he had done a little more fact checking for his book, Danse Macabre, since it is filled with an incredible number of  factual errors.  Here are just a few from the short text I’ve quoted  from, above:

KING: …fifty-six of its seventy-eight total episodes…

Mr. King obviously got the total number of Thriller episodes wrong, since it was 67 episodes, not 78.

KING:  Karloff was sixty-four at the beginning of Thriller’s two-year run

When Karloff began Thriller, he was 71  and in fairly good health.  His major health problems came in 1963 after Thriller was off the air.

KING:  Karloff had to wear weights to stand upright. Some of these infirmities dated back to his original film appearance as Frankenstein’s monster in 1932.

Frankenstein, as most everyone knows appeared in 1931.  Karloff did not have to wear weights to stand upright, but needed leg braces to walk in his final years.

KING: Fans will remember a few memorable occasions when he did (appear on the show)   “The Strange Door,” for instance.

Fans will remember The Strange Door, but not because it was an episode of Thriller. It was a Universal feature film starring Karloff and Charles Laughton.

KING:  The young man staggering blindly down the stairs of the decaying bayou mansion with a hatchet buried in his head (“Pigeons from Hell”).

Mr. King’s memory is faulty, as the scene he describes does not appear in “Pigeons from Hell.”  The young man is carrying a hatchet with which he attempts to kill his brother, it is not buried in his head.

Thriller graphic

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Laserblast, August 31 Home Video: Vampire Diaries, Evil Dead, Thiller

Also: CARNIVEROUS with DMX, BRAINJACKED, the RED RIDING TRILOGY, and the Ultimate MACHINE GIRL Collector’s Tin.

click to purchase
click to purchase

Though not as loaded with gruesome goodies as last Tuesday, August 31 offers some exciting horror, fantasy, and science fiction titles on home video, including a DVD box set of DVD of THRILLER hosted by Boris Karloff; a new limited edition Blu-ray disc of Sam Raimi’s THE EVIL DEAD (1982);  and also THE VAMPIRE DIARIES: THE COMPLETE FIRST SEASON, which arrives on DVD and Blu-ray. The later offers an abundant cornucopia for fans of the CW series: four-disc Blu-ray set and the five-disc DVD set run over 900 minutes, with these bonus features:

  • Into Mystic Falls: Bringing Vampire Lore and the High School Experience from Page to Screen
  • When Vampires Don’t Suck!: The Popularity of Vampires and the Fans Who Love Them
  • The Vampire Diaries: A New Breed of Vampires — Casting the Series
  • The Vampire Diaries: Vampires 101 – The Rules of the Vampire
  • Creators/director pilot commentary
  • Unaired scenes
  • The Vampire Diaries: A Darker Truth Webisodes
  • Second Bite: gag reel
  • Downloadable Audiobook of the Bestselling Novel The Vampire Diaries: The Awakening by L.J. Smith

click to purchase
click to purchase

Anchor Bay’s new limited edition Blu-ray disc OF THE EVIL DEAD is essentially their old three-disc Ultimate Edition DVD condensed down to one Blu-ray disc (which contains two high-def transfers and an all-new audio commentary with director Sam Raimi, producer Robert Tappert, and actor Bruce Campbell) and one DVD (which ports over the old bonus features). The 1080p transfers are presented in anamorphic 1.85 and the original 1.33 aspect ratio, with Dolby TrueHD 5.1 audio. Essentially, this recreated the Ultimate Edition DVD presentation, which also offered widescreen and full-screen transfers (although on separate discs). The only feature missing from the Ultimate Edition DVD is the two audio commentaries: Raimi and Tappert recorded one for the widescreen version; Campbell recorded a separate one for the full-screen version.
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click to purchase

For fans of classic horror, the DVD release of THRILLER is big news. The show, which made its debut on NBC way back in September of 1960, has been seldom seen in syndication recently and apparently never available on home video. The 14-disc box set includes all 67 hour-long episodes from the show’s two-season run. Although less well known than THE TWILIGHT ZONE or THE OUTER LIMITS, THRILLER offered similar high-quality episodes, with wonderfully atmospheric black-and-white photography; some great scripts based on classic horror literature; and numerous guest stars, including William Shatner (STAR TREK), Leslie Nielsen (FORBIDDEN PLANET), Robert Vaughn (THE MAN FROM UNCLE), Ursula Andress (DR. NO), Henry Daniel (THE BODY SNATCHERS), Robert Cornthwaite (THE THING FROM ANOTHER WORLD), and more. Bonus features include extensive galleries or production and promotion stills,  promotional clips, isolated music and effects tracks for select episodes, and 27 new audio commentaries. Read more here.
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click to purchase

Over a week late, we want to mention GODKILLER: WALK AMONG US [Complete Film DVD], which bears an official release date of August 21 (a Saturday – rare for home video, which usually arrives on Tuesday).  GODKILLER, which deals with human begins engaged in a war among fallen gods, is a so-called “Illustrated Film,” a format coined by Matt Pizzolo and Brian Giberson that dramatizs the comic book story with illustrated voice performances (by Lance Henriksen, Danielle Harris, Bill Moseley, Tiffany Shepis), using  anime-style motion graphics. This DVD includes the entire feature film, unedited, including a brand new bonus epilogue, plus PDF files of the comic book on which the film is based. The film is also available on VOD for rent or purchase.
Also available for rent or purchase this week: CARNIVEROUS with DMX, BRAINJACKED, the RED RIDING TRILOGY, and the Ultimate MACHINE GIRL Collector’s Tin. You can find them all below, or find more in the Cinefantastique Online Store.
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The Last Exorcism: Cinefantasique Podcast 1:29


In the mood for an exorcism? Then join Dan Persons, Lawrence French, and Steve Biodrowski as they scourge the unclean spirits of THE LAST EXORCISM, casting out the plot spoilers and narrative inconsistencies that bedevil the tortured soul of the new faux-documentary from producer Eli Roth and director Daniel Stamm.
Also in this episode, a look at this week’s video releases, including the THRILLER 14-disc DVD box set and the new limited edition Blu-ray disc of THE EVIL DEAD. Plus, the usual round up of news, events, and more in episode 1:29 of the Cinefantastique Horror, Fantasy & Science Fiction Podcast.


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Thriller: DVD Box Set Preview

Thriller graphic

Classic television show, hosted by Boris Karloff, finally comes to DVD

For fans of classic horror on television, this is big news: THRILLER, the spooky anthology series hosted by Boris Karloff (FRANKENSTEIN), finally arrives on home video, in a lovely DVD box set, this Tuesday, August 27 – almost exactly 50 years after its premier on NBC way back in September of 1960.
THRILLER ran for two seasons, offering up 67 hour-long episodes of macabre entertainment. (If that sounds like a lot of episodes for two seasons, this was back when television shows typically ran for nine months, taking only the summer off.) Although less well known than THE TWILIGHT ZONE or THE OUTER LIMITS, THRILLER offered similar high-quality episodes, with wonderfully atmospheric black-and-white photography; some great scripts based on classic horror literature, including episodes scripted by or based on Robert Bloch, August Derleth, Robert E. Howard, and others; a menagerie of familiar faces and guest stars, including William Shatner, Leslie Nielsen, Mary Tyler Moore, Elizabeth Montgomery, Rip Torn, Richard Chamberlain, Cloris Leachman, Robert Vaughn, Marlo Thomas, Ursula Andress, and more.
Like Rod Serling with THE TWILIGHT ZONE, Boris Karloff introduced each episode, but unlike Serling, he offered no wrap-up at the end. The intros are nicely done, often tongue in cheek (“Don’t be alarmed – the woman who screamed is perfectly quiet now,” he intones playfully in the familiar lisp. “After all, she’s been dead over 100 years.”) On top of his duties as host, Karloff himself starred in more than one episode, putting his familiar sinister-gentleman persona to good use.

Wearing the "Cheaters," a man has the misfortune to see the ugly truth about himself.
Wearing the "Cheaters," a man sees the ugly truth about himself.

As the title suggests, THRILLER began more in a mystery-thriller vein, a la ALFRED HITCHCOCK PRESENTS, with lots of creepy skulduggery going on in old dark houses and the like; however, it soon morphed into more of a Gothic horror show, with ghosts and other supernatural beings making frequent appearances. The crime stories are nicely done, but the horror episodes stand out in memory, such as “Yours Truly, Jack the Ripper” (in which the infamous serial killer is revealed to be an immortal, still at work in the 20th Century) and “The Cheaters” (in which a mysterious pair of spectacles reveal the often ugly truth lurking behind every day reality).
The conflict between the two approaches left the show feeling a bit schizophrenic: if you wanted a monster of the week, you were not going to get it, and the main theme (heard prominently on the DVD’s menu) has a jazzy feel more appropriate to film noir than Gothic horror. However, the nice thing about the format was that, because THRILLER was not dedicated to supernatural explanations, the scripts could play with audience expectations (e.g., was the painting in “The Grim Reaper” episode really cursed, or was that a ruse used by a murder to conceal his crimes – or was it both?).
click to purchase
click to purchase

Image Entertainment’s box set collects all 67 episodes onto 14 discs , remastered and uncut. Bonus features include extensive galleries or production and promotion stills,  promotional clips, isolated music and effects tracks for select episodes, and 27 new audio commentaries. (Since many of the people associated with the series are long gone, most of the commentaries are provided by fans, scholars, and filmmakers: Ernest Dickerson, David Schow, Tim Lucas, Gary Gerani, Marc Scott Zicree, etc.)
If the single screener disc we received is any indication of the overall quality, then the THRILLER box set is a must-have. The full-screen transfers are clear and sharp, perfectly capturing the low-key photography (which is even more impressive when you recall that these episodes were filmed at a time when most shows avoided high-contrast lighting because of the limitations of then-current television monitors, which might render dark areas of the screen as completely black).
The familiar graphic design of criss-crossed lines
The familiar graphic design of criss-crossed lines

The two episodes on the provided disc, “The Grim Reaper” and “Pigeons from Hell” (Episodes 36 and 37, the last of Season 1) offer mystery and suspense, bordering on horror, keeping the audience guess as to what is really happening. “Pigeons from Hell,” scripted by John Kneubuhl from the story by Robert E. Howard, and directed by John Newland (ONE STEP BEYOND) plays things a bit too close to the vest: although intriguing and eerie, with hints of voodoo, it comes to a conclusion that leaves one wondering exactly what was going on and just why were the pigeons from Hell?
“The Grim Reaper” is equally spooky but with a more satisfying twist ending, thanks to a script by Robert Bloch (PSYCHO) from a story by Harold Lawlor.William Shatner stars as a newphew who shows up at his aunt’s mansion to warn her about the eponymous painting she recently purchased, which has a reputation for bringing death to its owners. However, Aunt Beatric (Natalie Schafer, Mrs. Howell on GILLIGAN’S ISLAND) is a best-selling mystery author who believes the “curse” is good publicity – until she ends up dead.
Thriller: William Shatner in The Grim Reaper
William Shatner stands before the titular painting of The Grim Reaper

Under Herschel Daugherty’s direction, the performances are so broadly melodramatic that “The Grim Reaper” borders on camp: watch Shatner as he extends his hand, after touching the painting, to reveal his blood-stained fingers, and then watch the equally overdone reactions of those watching him. (Shafer in particular matches Shatner note for note in the histrionics department.) Fortunately, the performances are thoroughly enjoyable, helping to set up the correct playful tone that justifies the blackly comic finale, in which villain finds himself hoist on his own petard. Also of note: genre faves Robert Cornthwaite (THE THING FROM ANOTHER WORLD) and Henry Daniel (THE BODY SNATCHER) show up in cameos.
The audio commentaries by Gary Gerani and/or Ernest Dickerson are informative and interesting. The photos galleries truly deserve the adjective “extensive,” stretching throughout the show’s run (not just the two episodes included on this disc). And the promotional clip is a truly novel bonus item: clearly designed not for audiences but for television station owners, the lengthy montage of scenes features Karloff both on-screen and narrating, extolling the virtues of the series that are guaranteed to attract audiences and guaranteeing thrills “natural, unnatural, and supernatural.”
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