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Glassy Eye By Dave Meile
Thursday 3 a.m. Ch. 16.
“The Red House," (1947) Ed
ward G. Robinson.
You may want to set the timer on the
VCR for this highly recommended
suspense flick directed by Delmer
Daves. "Dark Passage" (1947) is per
haps Daves' most well-known flick, an
unusual Bogart-Bacall film which for
the first half of the film is told with a
subjective camera technique. That is,
the entire proceedings of the film are
shot as viewed through the eyes of one
particular character.
If old horror films are not your bag,
perhaps check out two entries from
Britain’s Hammer Studios. The Hammer
studios helped rekindle interest in
horror films and most are at least
notable for their attractive production,
good casts (usually with Peter Cushing
and/or Christopher Lee) and reliable
direction by veterans Terence Fisher
and Freddie Francis. Two Hammer
films are scheduled Saturday: "Franken
stein Must be Destroyed” (1969, 11
а. m. WTBS) and “Vampire Circus,"
1972 USA (Ch. 17, 7 p.m.).
Saturday 4:50 a.m. WOWT Ch.
б.
“Ghost of Frankenstein, ”
(1942) Lon Chaney, Bela Lugosi.
In the preceding entry of Universal
Pictures’ Frankenstein series ("Son of
Frankenstein”) Doc Wolf Frankenstein
drop-kicked his monster (in a cool,
fuzzy ‘Sonny Bono’ vest) into a boiling
vat of sulfur and grabbed the big guy’s
scuzzy shepherd pal Ygor and filled
him full o’ lead. “The Ghost of Franken
stein" finds Ygor (wonderfully played
by a barely recognizable Bela Lugosi)
miraculously recovered from the bullet
wounds and unearthing the monster
from the dried sulfur pit of years
before. The two head to the village of
Vasaria, to find Ludvog, de secont
son of Frankschtein ”intones Ygor/
Bela. Ludwig (Cedric Hardwicke) after
prodding from a ghostly floating head
image of his dad, decides to transplant
the brain from a saintly assistant to the
monster to make him a nice chap.
Things go haywire when the monster
gets Ygor's brain and starts to talk with
a Hungarian accent. Viewers will boo
and hiss at Ludwig’s other sleazy assist
ant and culprit Dr. Bohmar (Lionel
Atwill).
The story is pretty silly but the film
is so masterfully handled by all con
cemed parties that it’s a minor horror
classic.
Erie C. Kenton’s direction is fast
paced and imaginative, and economical
(shot in five weeks) with lots of low
angle shots and montages utilizing
footage from the 1931 Frankenstein
film. The great musical score, a trade
mark of the horror flicks of Universal in
the '30s and ’40s, is by Hans J. Salter.
The cast is a who’s who of the horror
genre’s best: Sir Cedric Hardwicke lends
an air of distinction to an offbeat role,
Lionel Atwill is one of the screen’s
great sleazeballs perhaps because in
real life he was a little sleazy. He was
involved in a m^jor Hollywood scandal
when it was revealed that he liked
showing porno flicks and having orgies
at his plush mansion in Pacific Pali
sades.
Lon Chaney as the Monster, lacks
the pathos or depth of Karloff’s por
trayals, but manages some scares and
trouped through the arduous make-up
routine with the help of his pal Jack
Daniels. Or was it Johnnie Walker?
See EYE on 7
