“Attention! Ah say Attention! German scientist knocked unconscious by large frying pan! Important document stolen!”
US / 8 minutes / color / Warner Bros. Animation Dir: Douglas McCarthy Pr & Scr: Timothy Cahill, Julie McNally, Kathleen Helppie-Shipley Voice cast: Joe Alaskey, Bob Bergen, Greg Burson, Maurice La Marche, Tress MacNeille.
A riff (obviously) on CASABLANCA (1942), with the central characters of that movie played here by our favorite Warner Bros. animated characters: Bugs Bunny in the Humphrey Bogart role (Humphrey Bugsart?), Tweety Bird in the Peter Lorre role, Pepe le Pew in the Claude Rains role, Daffy Duck in the Dooley Wilson role, Penelope in the Ingrid Bergman role, Sylvester in the Paul Henreid role, etc. (There’s even, in the background, Porky Pig in the Sydney Greenstreet role.) What could possibly go wrong?
Tweety Bird as Peter Lorre. Continue reading
A quarter of a century ago on a remote Kansas farm, a couple of days into 1985, Libby Day’s mother and two elder sisters were slaughtered in an In Cold Blood-style killing. Libby herself escaped into the winter’s night and, despite losing some digits to frostbite, survived to give the testimony that damned her elder brother Ben to life in prison for the murders.
In the decades since, there’s been for Libby no happy ending, no reconciliation with life: she lives a borderline-criminal existence on the fringes of society, reveling in her own meanness of spirit. And the fund that was collected all those years ago for the brutally orphaned Libby is now at last running out.
So, when a group of rather sick true-crime aficionados called the Kill Club approaches her with offers of actual cash to reinvestigate the old crime and that testimony of hers, she jumps at the chance. Initially it’s just the money that appeals — how long can she string them along? — but soon she begins to doubt her own assumptions and her memories of that fateful night and becomes invested in finding out what really happened.
Of course, that could be dangerous work . . . Continue reading
A train on the Chicago El clatters past the windows of the Independent News Service (INS). Within, investigative reporter Carl Kolchak (Darren McGavin) is having his millionth stand-up row with his boss, agency manager Tony Vincenzo (Simon Oakland). Their problem is that the two men have entirely different worldviews: Kolchak will follow a story to wherever it might lead him, even if he discovers that at its heart lie ghosties or ghoulies or, anyway, something that goes bump in the night. Vincenzo, more pragmatic, just wants some usable copy he can file to head office.
The pair are old adversaries. They met in Las Vegas in The Night Stalker (1972), where Kolchak managed to settle the hash of a vampiric serial killer. Next time their paths crossed was in Seattle, in The Night Strangler (1973), where this time it was a seeker after the elixir of life whose murderous exploits had to be terminated with extreme prejudice. Needless to say, in both instances Kolchak had the adventures and the girl while Vincenzo had the office job and the (apparent) security.
Darren McGavin as Carl Kolchak.
As often happens between old adversaries, they’re in a sense the best of friends. But at the same time they really, really can’t stand each other:
Kolchak: “What don’t you like about this hat?”
Vincenzo: “What’s under it.”
(from #7 “The Devil’s Platform”)
Kolchak: The Night Stalker first aired on ABC in 1974–5, which was Continue reading
”He’s just like an animal!”
US / 69 minutes / bw / MGM Dir: W.S. Van Dyke Pr: Hunt Stromberg Scr: Bayard Veiller Cine: Merritt B. Gerstad Cast: Lionel Barrymore, Kay Francis, Madge Evans, William Bakewell, C. Aubrey Smith, Polly Moran, Alan Mowbray, Forrester Harvey, Charles Crockett, Henry Barrows, Sam McDaniel, Blue Washington, Landers Stevens.
In the train on his way to a consultation with his wealthy client Gordon Rich (Mowbray) on the latter’s island estate, hotshot lawyer Richard Grant (Barrymore)—formerly New York’s DA but now in private practice—is goaded by a couple of fellow-passengers into the admission that, under certain circumstances, he believes murder can be justified.
Alan Mowbray as sleazebag Gordon Rich.
On arrival, he discovers that his adored daughter Barbara “Babs” (Evans) and her Aunt Maggie (Moran) have already been there a week. Two other things he discovers are that the middle-aged Rich has called him there to arrange for the dispersal of hush monies to his various past overly youthful mistresses—albeit not the sixteen-year-old who Continue reading
Someone is knocking off belly dancers and other fit young women in the city of Seattle, and draining a small quantity of blood from their brains. Investigative reporter Carl Kolchak, freshly arrived after having been run out of Las Vegas at the end of The Night Stalker, does what he does best: annoy just about everyone in sight, become rather quickly involved in a love affair with a woman far younger than he is, and discover the truth underlying the murders. It seems the alchemical elixir of life — or, at least, one formula for it — requires the blood of young women. Furthermore, the elixir lasts only so long — about twenty or twenty-one years, in fact. Deep beneath the streets of modern Seattle there lurks a century-old alchemist who, every couple of decades, must harvest blood from a half-dozen young women.
Can Kolchak persuade the authorities to entertain his seemingly madcap theory as to what’s going on before the would-be immortal kills again? Continue reading
I’m in the process of assembling for the movie site Wonders in the Dark an essay on the Kolchak: The Night Stalker TV series, and thus I’m midway through watching the 20 episodes of the series. Also, as part of my brief, I’ve watched the two TV movies that preceded the series, The Night Stalker and The Night Strangler, and hope to fit in watching the ten episodes of the series’ 2005 retread, Night Stalker. Since that’s already far more work than really I ought to be devoting to the project, I naturally decided to get hold of series creator Jeff Rice’s two Kolchak novels. (I think I draw the line at the anthology someone’s put together of original Kolchak stories. Hm. I wish I’d known about it at the time . . .)
Anyway, the novel published as The Night Stalker apparently began life as The Kolchak Papers, and as such was Continue reading
“My name is Marie, the arsonist, the lunatic. Meet me tonight at my mother’s. Signed, Michel”
vt Die Nacht aus Gold; vt Golden Night
France, WG / 79 minutes / color / Eurofrance, U.G.C., Société Française de Production, F.R.3, Maran Dir: Serge Moati Pr: Philippe Dussart Scr: Françoise Verny, Serge Moati Cine: André Neau Cast: Bernard Blier, Klaus Kinski, Marie Dubois, Jean-Luc Bideau, Charles Vanel, Anny Duperey, Elisabeth Flickenschildt, Raymond Bussières, Valérie Pascale, Maurice Ronet, Catherine Arditi, Martine de Breteuil, Jean-Pierre Sentier, Fernand Guiot, Catherine Therouenne.
An offering that has a lot of the feel of a giallo—the borderline surrealism, the hyper-real color use, the sense that the movie’s reality is taking place inside a sort of bubble universe where the rules resemble but are not identical with the ones we’re accustomed to, the visual and narrative style, the grotesquery, etc.—but lacks both any gore to speak of and much by way of nudity/sex. In fact, it seems to tip a mocking hat at these giallo conventions in its early moments, when we see Commissaire Fernand Pidoux (Blier) indulging—as perforce do we—in a little trivial voyeurism, watching through binoculars as Continue reading