The American
Drive-In Movie Theater, by Don and Susan Sanders (1997; Motorbooks International
Publishers & Wholesalers, Osceloa, WI, 160 pages, $29.95). Faithful readers of this
horrible little webzine may have noticed that we spend a good deal of time
To "B" Or
Not To "B," A Film Actor's Odyssey, by Robert Clarke and Tom Weaver
(1996; Midnight Marquee Press, Inc., Baltimore, Maryland, 248 pages, $19.95). One of the
best things about the recent mushrooming of interest in classic and cult horror films is
Hammer, House
Of Horror (Behind The Screams) , by Howard Maxford (1996; The Overlook Press, New
York, New York, 192 pages, $27.95). Some books on the horror-monster film genre are a
great
Fragments Of
Fear, An Illustrated History Of British Horror Films, by Andy Boot (1996;
Creation Books, London, United Kingdom, 283 pages, $17.95). In sharp and welcome contrast
to Hammer, House Of Horror, here's a history of British horror cinema
Ghostmasters, A
Look Back At America's Midnight Spook Shows, by Mark Walker (1994; Cool Hand
Communications, Inc., Boca Raton, Florida, 176 pages, $29.95). Something that Baby Boomers
and Generation Xers mostly missed out on were the
Do You Want It
Good Or Tuesday? From Hammer Films To Hollywood, by Jimmy Sangster (1997;
Midnight Marquee Press, Baltimore, Maryland, 240 pages, $20.00). Few surviving inhabitants
of the old House of Hammer have as strong a claim on the affections of horror fans as
Jimmy Sangster. He not only wrote the two seminal Hammer gothic horror films--Curse Of
Frankenstein and Horror Of Dracula--but also directed two lesser Hammer
horrors--Curse Of Frankenstein and Lust For A Vampire. This is only a
small portion of the writing, producing, and directing Sangster
 English at the
Memorial University of Newfoundland, she is an expert on Dracula (particularly the novel),
and her qualifications are numerous: she has written three books and in numerous essays,
frequently lectures on the subject, has traveled Romania frequently, is President of the
Canadian Chapter of the Transylvanian Society of Dracula and has exhaustively researched
the actual working notes of Bram Stoker concerning the writing of his classic, among
others. When it comes to non-fiction reading or researching anything concerning Dracula
(excluding movies), it is to Ms. Miller I turn to first.
Her third (and latest) book is entitled Dracula: Sense and Nonsense. This book is a welcome relief for people like myself who are continually annoyed by the unsubstantiated theories and just plain incorrect facts that have (and continue to be) passed off and have become generally accepted as "facts" over the years. In Dracula: Sense and Nonsense, Miller (to use her own words) "…challenges dozens of errors and misconceptions about Bram Stoker and his famous novel…" The book is divided into five main chapters which cover: the sources for the novel, Stoker’s writing of his classic, the novel itself, the geography covered in the book and Vlad the Impaler. A sixth chapter covers the strengths and weaknesses of other (non-fiction) books that deal with the novel Dracula in some form (bios of Stoker, studies of the novel, etc.) Each chapter is also extensively annotated. In each of the first five chapters, Miller quotes an error or misconception surrounding the chapter subject, gives the source for the quote and then presents her evidence as to why the quote is "poppycock" (one of my favorite expressions used in the book). The above format makes it rather difficult to truly judge the writing as a whole, as it is less free-form writing than a presentation of facts against various incorrect assumptions. That said, Ms. Miller does sprinkle some welcome humor into the book with her initial reaction(s) against given quotes. Also, you can tell that every explanation was carefully and thoroughly researched. One comes away with an immense respect for the time, effort and thought that she put into presenting her case. Her writing is succinct and scholarly, although never written above the heads of her readers. To truly appreciate the importance of this book, a little explanation is in order. Bram Stoker kept an incredibly comprehensive record concerning the origins and sources for the writing of Dracula, many times known as his "working notes and papers". These notes were discovered in the Seventies. Thus, to establish any true facts concerning the novel, one need only look at the novel itself and Stoker’s notes. Any information or "facts" that do/did not make use of these notes (since their discovery), can truly only be considered theories or assumptions. In debunking the myths and errors related in her book, Miller uses Stoker’s notes as her evidence. If the proof for one of the quoted "facts" cannot be found within said notes, Miller (correctly) identifies it hearsay, improbable, misinformed, or just plain incorrect. Of the many inaccuracies Miller corrects, perhaps no other will cause more controversy than her severing the ties between the fictional Count and the real-life Vlad Tepes. According to the author, Stoker merely borrowed the name Dracula and any statement of fact that Stoker based his vampire Count (or even had much knowledge) on the bloodthirsty Vlad is irresponsible. Many more deep-seated, but less shocking assumptions and beliefs will likely be shattered by this book. Dracula: Sense and nonsense won’t be an easy book for many devoted fans of the novel. Old established beliefs can be hard to shake and many may simply dig in their feet and refuse to accept Miller’s rebuttals. But serious fans of the novel owe it to themselves to give this book a reading. Miller only presents the best possible evidence: what Stoker himself wrote concerning the origins of his book. If it isn’t in the notes, where’s the proof?--Reviewed by Jim Nemeth
Killing For
Culture, An Illustrated History Of Death Film From Mondo To Snuff, by David
Kerekes and David Slater (1995; Creation Books, London, England, 286 pages, $17.95). Since
the Sixties, when Herschell Gordon Lewis and David Friedman pointed their camera at animal
entrails glopped on various models in search of a fast buck, and three Italians took some
racy travelogue film and made it Mondo, gore films, Mondo movies, and even so-called
Lon Chaney The Man Behind The Thousand Faces,
by Michael F. Blake (1994, The Vestal Press, 392 pages, $19.95 pb). Due in large
part to his own efforts, Lon Chaney, while one of the biggest stars of the silent era has,
through the decades, remained one of the least-known (about) talents of said era.
With Lon Chaney The Man Behind The Thousand Chaney fans reap the many benefits of the author's six years of research as Chaney's amazing life is presented to us: The son born to deaf parents, whose early mastery of pantomime (for the purpose of communicating with and entertaining his mother), would serve him well later in films. His marriages. His rather extensive list of theater credits where he practiced and honed his make-up skills. His entry into films, and the varied body of work that resulted. The rise from bit player to hugely popular star. His concern over making his first "talking" picture. All this and much, much more is to be found within. A filmography (as complete as can be known), chronology of the major events in Chaney's life and a (considerately provided) glossary of make-up terminology are also included. The filmography, which shows the breadth and variety of Chaney's body of work, should go a long way towards dispelling the annoyingly inaccurate label of "horror" actor that many fans who know him only for Hunchback and Phantom, insist on pinning him with. Two big highlights: numerous, never-before-seen (at least by me) photos of Chaney, both in and out of make-up (rare). Second, a make-up artist himself, Blake reveals the secrets behind the creation of many of the actor's "thousand faces", dispelling many of the incorrect "facts" fans have been given over the years in lazily-researched magazine articles (ex: Chaney did not wear a 70-lb hump during the filming of Hunchback). Whether a fan of Lon Chaney or film history in general, Lon Chaney: The Man Behind The Thousand Faces is not to be missed. A superb telling of an until now little-known, but extremely fascinating life. --Reviewed by Jim Nemeth
Psycho: Behind The Scenes Of The Classic Thriller, by Janet Leigh with Christopher Nickens (2000; Harmony Books, Inc., 197 pages, $22.00). Much has been written over the years covering Alfred Hitchcock’s classic, PSYCHO. Yet, aside from various interviews and all-too-brief mentions in auto/biographies, in-depth insight from the two big stars of the film, Anthony Perkins and Janet Leigh, has been sadly lacking. Ms. Leigh, along with co-author Christopher Nickens, has finally remedied this situation (and Leigh even explains the reason for the delay) in their new book Psycho: Behind The Scenes Of The Classic Thriller. Both authors bring a different writing style to the
book. Leigh, writing a memoir in a very refreshing, We find many treats here. Leigh relates personal stories and anecdotes, as well as remembrances of others connected with the film, including Psycho screenwriter Joseph Stefano, Lew Wasserman, Curtis Harrington and Osgood Perkins, Anthony’s son. Leigh scores a coup by obtaining rare words from co-star John Gavin. One entire chapter is devoted solely to the intricacies of filming the shower scene. Importantly, Leigh also is able to set straight many of the rumors and misinformation surrounding this movie over the years (did Hitchcock or someone else direct the famous shower scene, etc.) Perhaps the most important information we learn from Leigh is that concerning Hitchcock himself. From Leigh we see another side to the filmmaker that we don’t usually read about. Far from being dominating toward his lead actress, Hitchcock was helpful, gracious and friendly. We also learn that Hitchcock was actually quite open to the suggestions and input of others. And much more. What really works here, (aside from all that we learn) is the intimacy that Leigh brings to the table. Other authors have written on the making of Psycho, but you just can’t beat hearing it first-hand from someone actually involved. Leigh has an obvious love for this film and the people involved and her enthusiasm is evident throughout. Also, her above-mentioned writing style is a much welcomed change of pace from the sometimes very "dry" reading of other "making-of" volumes. The only thing that I don’t feel really works is the chapter entitled: The Effect. In this chapter, Leigh tries to relate for us the effect (good or bad) that the film has had on some of the principal players. When she speaks for herself or someone else with whom she was able to actually talk to (Stefano, for one), we get a definite, solid, interesting answer. When attempting to relate the effect on Hitchcock or Perkins, however, many pages are spent on what ends up being (to which she readily admits) mostly pure conjecture. Also, there are many testimonials of the effect of the film on the general public. While these tales are amusing, they are hardly illuminating or new. How many "Psycho really scared me!" or "I’ve been afraid to take a shower" stories does one still need to read? Another item (one out of Leigh’s control) is the price of the book. It seems a bit on the high side when one considers that the book weighs in with less than 200 pages.That said, in all, this is a very entertaining and enlightening delve into the makings of one of the undisputed classics of the genre. Fans of the film, Ms. Leigh, Hitchcock, or just filmmaking in general should not miss this one.--Reviewed by Jim Nemeth
Schlock-O-Rama, The Films Of Al
Adamson, by David Konow (1998; Lone Eagle Publishing Company, Los Angeles,
California, 160 pages, 19.95). No-budget filmmaker Al Adamson, usually in
partnership with Sam Sherman of Independent International Pictures, made truly awful,
wretched genre films. Frankenstein's Bloody Terror was a re-titled Paul Naschy
werewolf flick with no Frankie to be found; Dracula Vs. Frankenstein was
howlingly inept, wasting the final performances of Lon Chaney, Jr., and J. Carroll Naish; Blood
Of Ghastly Horror is a wretched mish-mash of three different movie filmed
Tim Burton: An Unauthorized
Biography of the Filmmaker, by Ken Hanke (Renaissance Books, 250 pages, 4
pages of photos). Tim (The Nightmare Before Christmas) Burton wants the story of
his life to remain a mystery. Who better, then, to write an unauthorized biography
of the filmmaker than the expert on fictional detective Charlie Chan, Ken Hanke? It
needs
Vincent Price starred in over a dozen
plays, hundreds of radio and television programs, and 99 motion pictures. The
Complete Films Of Vincent Price (Lucy Chase Williams, Citadel Press, 1995, 287
pgs.) claims 100. But I don’t consider a "made for cable"
production to be a ‘real’ movie. As in all of Citadel’s "Films
of…" series, this profusely illustrated book consists of a biography of the
actor, followed by synopses and critiques of each of his 99 (or 100) films. A
special treat--this is the first Citadel book to
Women In Horror Films, 1930s,
by Gregory William Mank (1999, McFarland & Company, Inc., Jefferson, North Carolina.
403 pgs., $45.00.) In the many chroniclings of the history of the Golden Age
of Horror, women have always been horribly short shrifted. Tomes have been written about
Karloff and Lugosi. Even directors Whale and Browning have enjoyed volumes written
about their lives and films. But aside from an occasional story on Elsa Lanchester's
turn as the Monster's "mate" or Carroll
John Carradine: The Films,
by Tom Weaver (1999, McFarland & Co., Jefferson, NC, 408pp, $65.00). When one
considers that just about every nook and cranny of classic horror history has been
explored and documented over the years, it is simply astounding that until now the long
and varied career of John Carradine has not been given its proper due. The man
portrayed Dracula more times on screen than Bela Lugosi for heaven's
Vincent Price: A Daughter's
Biography, by Victoria Price (1999, St. Martin’s Press, 384pp, $27.50). Many
people know Vincent Price simply as "that horror film actor". He was,
however, a man of many varied interests and talents, far beyond those even most fans might
be aware of. The life of Vincent Price could be summed up in one word: full. Price
did so much with his life that the author’s job of bringing it to one book must have
been daunting. But Victoria accomplishes this task quite well. From traveling
to and receiving his education
 predilections…in
order to define the merits of a piece of moviemaking which most people have either
forgotten or else dismiss as utter trash. Thus, writing about one's cinematic guilty
pleasure takes intricate self-analysis heaped upon piles of courage."
In this book, Midnight Marquee Press presents fourteen "guilty" films, with evidence presented in their favor, by MMP's roster of talented writers. The writers certainly are daring. Who would have guessed that anyone would (or could) defend 1976's King Kong? Or Chaney Jr.'s Indestructible Man and Lugosi's Voodoo Man? Not this reviewer. But they do, among others, and admirably. After reading the well-presented evidence on Rodan and The Flesh Eaters, memories of the fondness I have for both films made me go out the following weekend and rent them for the first time in perhaps a decade. I was even introduced to a film I'd never heard of before: Maniac. To the credit of the author, his "case" made me want to find this film and give it a viewing. Most entries are well written, interesting, and informative. Given that, it brings me to a problem I have with the book: There is no one common style to the chapters. In some, we are given little more than lengthy synopses. (A warning to those who haven't seen some of the films discussed within: endings are revealed.) Others give a production history or a behind-the-scenes look into the making of the author's guilty pleasure (the chapter on When Dinosaurs Ruled The Earth, is a lengthy, but fascinating example). Still others start out focused on the film at hand, and then go off-point. The chapter on Scared Stiff gives us more a history of the teaming of Jerry Lewis/Dean Martin than it discusses the titled film. Individually, one admires each author's work. Put together, however, the book's disparate style causes a lack of cohesiveness that I feel is to the book's detriment. Each chapter has a definite feel of "sticking out", of being an individual/independent unit, rather than meshing seamlessly, one into another. But perhaps that is an somewhat unfair criticism, for I certainly recognize that creativity demands that authors not have to follow a rigid formula. Still… Additionally, a disappointment of the book for me is the fact that while most authors do present compelling evidence in favor of their chosen film, many do so in an objective "here's a reason why the film is good" kind of way. Missing are the more subjective reasons, the personal anecdotes and "…intricate self-analysis heaped upon piles of courage." that I was looking for. The fun spirit of the book's Introduction (especially the snippet quoted above) is either sadly missing, or given short shrift in many of the chapters. One wishes for more reminiscences and less plot summaries. Given those complaints, this is still a very fun book. It allowed this reader to recapture some wonderful memories of watching and enjoying films not seen in many a day, despite their many and very obvious faults. I was even inspired to compile a guilty pleasure list of my own and spend a most pleasant day revisiting some of my long-neglected "friends". In the end, the book is recommended, for the pleasure derived (and the knowledge gained) from reading it far outweighs the above-mentioned quibbles.--Reviewed by Jim Nemeth
The book is fun, quite humorous, and has much to recommend it. There are plenty of horror movie references dropped throughout (albeit mostly movies from the 70s on and cult favorites) to bring a smile to the monster lover in us. The characters are colorful and interesting. Also, I must say it’s nice for a change to read of a mother/son relationship where they actually care for each other and aren’t at each other’s throats. And although I must admit that at first I had a hard time swallowing the premise that a girl like Tina would fall for a guy like P-Man, after accepting it, I found their relationship to be very nicely handled - not your typical angst-ridden coupling here. Lastly, the book is a great throwback for anyone who grew up in the 80s, especially if you held a job in a "strip" mall. Pagonis nicely captures the essence of what is was/is like being a "mallrat" and the sub-culture that goes with it. Blood and Popcorn is a fast, easy, enjoyable read. Admittedly, the ties between this novel and classic horror are very tenuous, but readers won’t find this diversion a waste of their time. Between the long droughts of new non-fiction material from horror/monster film historians, novels such as Blood and Popcorn are a great way to pass the time.--Reviewed by Jim Nemeth October Dreams, by Richard Chizmar, Robert Morrish, editors (2000, Cemetary Dance Publications, 665 pp., hc, $40.00). A perfect gift for your favorite horror and monster lover is October Dreams, a collection of new and reprinted fiction, along with various essays and reflections, all centering on everyone’s favorite holiday, Halloween.
I won’t go into a "this story is great, that story sucked" litany, as such things are subjective. I can, however, say that the overall quality of the stories is very good. I found several to be flat-out excellent. Perhaps one of the best compliments one can pay this anthology is that I will be pursuing other works of many of the authors within this collection that I’ve heretofore been unfamiliar with, as a result of the impressiveness of their stories here. The authors’ Halloween remembrances run the gamut of emotions: from humorous to scary, nostalgic, and sorrowful. In perhaps the saddest memory, Halloween for Ray Bradbury will never again be the same. Lastly, there are the essays. One, covering the history of Halloween, is entertaining and informative. Even the most knowledgeable Halloween expert may learn something new here. A well-researched piece covering Halloween fiction nicely scratches the surface of a topic that definitely needs many more pages. Lastly, an overview of Halloween films is one of those fun lists in which you’re sure to disagree with the author at some point, hollering out: "How could he have left out: (fill in the blank)?" Then again, I scratched my head at some of the movies he included. The only noticeable misstep for the book, in my opinion, is the exclusion of any of the Halloween-themed tales from one of the undisputed masters, Robert Bloch. Don’t be scared off by this book’s price tag. Considering the incredible lineup of genre authors included here, the quality of the work, and the fact that the book comes in at over 660+ pages, the book is a bargain. Don’t pass this one up.--Reviewed by Jim Nemeth
I Was A Monster Movie Maker, by Tom Weaver, (2001, McFarland & Company, 312 pp., hardcover, $38.50).
The range of interviewees range from the easily recognizable: Maureen O’Sullivan, Norman Lloyd, Phyllis Kirk, Dana Wynter, and John Kerr--to the downright scratch-your-head-and-ask-who? variety: Booth Colman (Dr. Zaius on the Planet Of The Apes television series, Karloff’s Thriller), Nelson Gidding (screenwriter of The Haunting), Suzanna Leigh (The Deadly Bees, Lust For A Vampire), and Joan Weldon (Them!), among others. Filmographies are included for all performers. Among the many treats to be found: O’Sullivan’s days as Tarzan’s Jane and the revelation of whether there was any romance with Johnny Weissmuller; Wynter’s discussions on the 1956 Invasion Of The Body Snatchers, and Kevin McCarthy; Candace Hilligoss’ very frank opinions concerning the Carnival Of Souls remake; the always interesting Norman Lloyd’s remembrances, especially those of Hitchcock; Phil (Uncle Owen) Brown’s recollections of his getting his role in Star Wars, meeting George Lucas, and anecdotes of Lon Chaney, Jr.; Paul Picerni and Phyllis Kirk (in what are clearly the best of interviews done with these two stars) share trips down memory lane, relating tales of making House Of Wax (Picerni’s story of filming the guillotine scene is priceless), Andre’ de Toth, and Vincent Price; Nelson Gidding’s discussion on bringing The Haunting (original version) to the screen; and Ray (My Favorite Martian) Walston talks of working with Lugosi. In too many interviews, the reader only gets a rapid-fire question and answer session, with no sense of any real interest being generated by either party. Weaver’s strength, however, is his ability to get his subjects to really open up. The reader feels that there is a real conversation between two interested parties going on, rather than a rote asking/answering of questions. Perhaps it’s his genuine interest in his subjects; perhaps it’s his years of experience; perhaps it’s his research and preparedness (he often knows more about his subjects’ careers than the subjects themselves can remember!). Regardless of Weaver’s secret, we get a depth, interest, and even excitement out of the subjects--not to mention the wealth of memories and anecdotes--that one seldom finds elsewhere. Another strength of the book is in the consideration that many of the personalities found within are not as recognizable as O’Sullivan or Lloyd. The author performs an invaluable service for fans of the horror/monster genre by making sure that many talented artists who have contributed to our enjoyment of monster films over the years (however large or small the contribution) are not lost in obscurity - a fate in which they’d otherwise certainly find themselves if not for the dedication of a handful of interviewers such as Weaver (Gregory Mank must also be mentioned in this category). Downsides to the book? I could find only two, and they are small, one (perhaps both) out of the hands of the author. First, that cover! J Second, my usual complaint with books by McFarland: the price. Like all McFarland books, IWAMMM is nicely produced and certainly worth the price, but still more than likely out of the price range of many of the monster fans the book is written for. I Was A Monster Movie Maker is typical first-rate, high quality product readers have come to expect from the author, and is the latest in a long line of his acclaimed interview books. One wonders how many more fascinating lives of horror/monster personalities can still be out there. Rest assured, Weaver will find them first and do it best.--Reviewed by Jim Nemeth
Halloween Candy by Thomas M. Sipos (2001, First Books Library, 250pp., PB, $19.95). Halloween Candy, by Thomas M. Sipos, is just that – like a candy container after an evening of trick-or-treating. It’s chock full of a variety of goodies, of varying sizes, shapes, and flavors. You name it, Halloween Candy has it: several short (short!) stories, numerous essays, an interview, a review, and a screenplay.
Some elaboration: the interview with Frid, although dated, is interesting. Frid has never had much interest in discussing horror movies or vampires, so hearing his remembrances of Dark Shadows and Barnabas are much fun, as is learning how the actor has kept himself busy since the series folded. Also, the essay defining the horror genre, while a bit lengthy, is informative, well presented, and certain to inspire many heartfelt debates. But the screenplay is the heart of the book. Halloween Candy (screenplay) is an anthology, relating the fates of four children after they get on the bad side of a witch. Optioned several times, and once almost directed by Tom Savini, I’m perplexed by the fact that it still sits unproduced (the screenplay’s lengthy history is detailed in the book’s introduction). It is very good, and would certainly make a better movie than some of the fare that somehow does make it to the big screen today. There are two aspects to the book, however, that I feel are small missteps. One, a review with a title of Haunted Houses In California, actually reviews only a handful. Published in 1997, the information is more than likely dated, and the reader would have to either live in California, or have the means to visit, for the information to be of real value. Second, duplication of material, as one of the longer short stories is a novelization of one of the stories contained in the screenplay. The above two quibbles, however, are decidedly small and in no way take away from the overall enjoyment of the book. Halloween Candy, with its mixed bag of contents, has something for everyone. Dig in your hand and you’re sure to pull out a treat.--Reviewed by Jim Nemeth
Shock! Theater: An Illustrated History, by Jim Clatterbaugh, editor (2001, Monsters From The Vault, 136pp., soft-bound). Most readers of HORROR-WOOD probably have very fond memories as children of excitedly anticipating the coming weekend for their weekly "fix" of monsters and villains, courtesy of their local television station broadcasting a "Creature Feature."
All these wonderful, nostalgic memories were vividly brought back to this "child" via Shock! Theater: An Illustrated History, from the publishers of Monsters From The Vault magazine. Shock! Theater is a warm, loving tribute to a package of movies that for many of us, were our first exposure to the above-mentioned monsters and the now beloved actors who scared the pants of many a young lad. The bulk of the book consists of a reproduction of the original promotional book used by Columbia Screen Gems back in the late Fifties to sell the packaged catalog of Universal monster movies to television stations. In this promotional book can be found write-ups for the original 52 Universal films released to television, each containing a very brief synopsis, both 10- and 20-second on-the-air promotions, a "TV News Release" (a fill-in-the-blank "promo" for use by each station), and a brief biography, usually of the main star of the film. Also contained in the promotional book, and sure to provoke a measure of amusement, are various sales promotion suggestions, originally provided to help stations sell the idea to their sponsors. The (reverential) amusement comes from the fact that many of the suggestions, possibly somewhat daring in their day, are incredibly tame by today’s standards. Rounding out the book are various rare and fascinating pieces contributed by John Brunas (from a personal scrapbook covering Shock! Theater that he has accumulated for over 35 years!), contributions from many Monsters From The Vault writers, sharing their memories on what Shock! Theater (or whatever it was named) meant to them; and an introduction by the "Cool Ghoul" himself, Zacherley. The whole book is just a delight, a rare glimpse into one of the most important events in monster movie history, the true birth of the Fifties "Monster Craze." Filled with innumerous photos (many rare), a wonderful color cover that made me wish I were fifteen again, and a truly beautiful and inspired layout (for which special mention to Michael Kronenberg, who is credited with the interior design of the book, must be given), this book deserves to be in every monster lover’s library. That said, readers of HORROR-WOOD should know that the book in only available through the publishers of Monsters From The Vault and has a limited production run. Check out this link for more information. Hats off to everyone who had a hand in the making of Shock! Theater: An Illustrated History--in this reviewer’s opinion, one of the very best genre books of 2001.--Reviewed by Jim Nemeth
New Traditions In Terror, by Bill Purcell,
editor (2001, Writer’s Club Ltd., 296 pp., pb). New Traditions In Terror
is a new and ambitious horror fiction anthology. Why ambitious? Because the whole of the
book is comprised of stories dealing with subject matter already much overdone: we’re
talking vampires, werewolves, vengeful spirits, ghouls, demons, and evil people here. A
risky proposition indeed, as nowadays I dread reading vampire or werewolf stories for
knowing that while And so, New Traditions In Terror delivers sixteen stories and one poem, by authors the readers of Horror-Wood may not be familiar with. Seventeen fresh voices accepting the daunting challenge of writing tales containing characters that are increasingly looked down upon in the field as being passé. The book is a welcome, and surprising success. I say surprising, because I really did enter the challenge of the book’s premise pessimistically. I mean, I have read a LOT of vampire and werewolf stories. The book had a lot of history to go against. For the most part, the authors vindicate themselves extremely well. While admittedly, few stories really do break any new ground (a story concerning a cyber werewolf is a notable exception), as a whole the stories are well-written, and do manage to sweep the reader up and carry them along for a short, but enjoyable ride. Many evoke a well-defined and appropriate atmosphere, almost tangible, as well as creating developed characters that I came to care about, hoping they would come to a good - or deceivingly bad - end. On at least one occasion I compared a story (favorably) to some classics I fondly remember from my decades of reading. With anthologies, I usually don’t do a story-by-story analysis, but a few stories in this collection deserve mention. Afraid Of The Water, by Robynn Clairday, does such a good job of evoking concrete images in her tale, that it brought back some very unpleasant memories of my own fear of water as a young child. Monster, by Peter N. Dudar, is a great example of a tale that can build suspense and keep a reader on edge through merely hinting at the horror, rather than through any blatant or graphic depiction of it. A wonderful example of "less is more." The ending has a wonderful, Lovecraftian/Cthulhu feel to it. Lastly, there is Kiowa Wells, by R. A. Cox. The highlight of the book, Cox’s tale takes an old idea (vengeful Indian spirit), and weaves it into an enthralling classic. Heavily atmospheric, well-developed and written, perfect pacing, ever-increasing chills. I predict a deserved, enduring popularity for this one. The only aspect of the book that I feel doesn’t work is one story, only because it reads more like a "The Shadow"-type detective tale, with a monster casually thrown in at the end because one was needed, than as a horror story. It’s a good tale, mind you, but definitely feels out of place with respect to the rest of the collection. That said, New Traditions In Terror is a fine read, and a welcome addition to a horror fiction library. A collection of well-crafted and entertaining tales, from 17 talented writers from whom I hope we’ll be fortunate enough to hear from again. It’s encouraging to know that the future of horror fiction is in such capable hands.--Reviewed by Jim Nemeth
Death Makes A Holiday—A Cultural History Of Halloween, by David J. Skal (2002, Bloomsbury, 224 pages, $25.95 HC). The history of every monster lover’s favorite holiday is the subject of David J. Skal’s latest book. The history here, however, is selective, not all-encompassing. Skal has picked a handful of topics to which he has documented a score of personal anecdotes and stories from subjects across the country. Combined with occasional interjections of analysis, Skal looks at our Halloween traditions and rituals, and attempts to understand what they "…have to say about our national psyche." (From the book jacket.)
However, these positives are outweighed by several problems. A sense of "been there, done that", permeates much of the book. While the inclusion of certain subjects in any history of Halloween is almost mandatory - guaranteeing a certain repetition of information - the fact remains that some will have already read much of what is included here. For example, a chapter devoted to witches spends much of its time relating the history of the Salem witch trials and present-day Salem’s exploitation of their history for the purposes of tourism. This has been documented numerous times before. On the flip side, something we don’t find here that would have been a welcome addition is a profile of a present-day witch - examining his/her beliefs and practices, and in particular, illuminating how a witch in the Twenty-First century celebrates Halloween night. Learning of Laurie Cabot’s efforts to become the "Official Witch" of Salem is the closest we come to that… My expectation for a chapter entitled Halloween On Screen, at least in a book documenting the cultural history of the holiday, would be to find some underlying themes or connections between Halloween-related films and the holiday itself (other than the action taking place on Oct. 31). One or two pages briefly deliver on this. Instead, a large chunk of the chapter is devoted to a mundane and unnecessary "biography" of the cinematic life of Michael Myers, the hard-to-kill antagonist of the Halloween film series, complete with a synopsis of each film. Learning of the plot inconsistencies in the films, or that fans speculate on whether Jamie Lee Curtis will return in the latest installment in the series is not why I bought this book. I can get that kind of information in Fangoria magazine. Occasional overkill crops up throughout the book. One example demonstrates: In a chapter covering "haunted" attractions, six pages are devoted to Halloween decorator extraordinaire, Bob Burns, and his (not quite) yearly house "transformations". Whether for the purpose of revealing Burns’s inspiration for his home "makeovers", or trying to uncover some deeper meaning as to why some people get so into setting up attractions for Halloween, six pages is simply excessive--there’s too much other ground to cover. Last, and most egregious and sad: I lost faith in the book’s factual accuracy. In one paragraph, mention is made of the film Horror Hotel. The first thing to catch my attention was an incorrect year attached to the movie. Second, a questionable statement is made concerning the fate of the young female student. Depending on one’s interpretation of this statement--and I consulted with several others who agreed with my interpretation--this statement is also incorrect. Now, my confidence in any book’s factual accuracy can be shaken if I find two errors in the entire document; that two are found back-to-back just put me in the wrong frame of mind for the remainder of the book - wondering what else might be inaccurate. There is perhaps no worse fate that can befall a non-fiction book. While not without merit, I cannot recommend Death Takes A Holiday. Personally, I would have preferred a more encompassing examination of the holiday from a book that subtitles itself A Cultural History Of Halloween. However, I could have been fine with the author’s decision to cover only a select number of topics--if only said topics were of less frequently covered ground (like the Castro Street chapter), or if we gained more new insight(s) from revisiting these subjects than we do. Additionally, when one considers the book comes in at under 200 pages (when index and notes are subtracted), the price tag is fairly high for the product delivered. And when you start doubting a book’s facts...--Reviewed by Jim Nemeth
Science Fiction Confidential, by Tom Weaver. (McFarland & Company, 2002, 320 pages, hardcover, $38.50) Hot on the heels of last year’s acclaimed I Was A Monster Movie Maker, genre film interviewer Tom Weaver returns with another volume of collected interviews. Science Fiction Confidential presents 23 interviews with various genre personalities. Two names readers should recognize instantly: Alex Gordon and David (Al) Hedison; other names may initially leave readers scratching their heads in non-recognition: Tod Griffin (She Demons), Russ Doughten (producer of The Blob), Robert Ellenstein (a live television production of The Hunchback Of Notre Dame), Lyn Thomas (Space Master X-7), among many others. All but one of the interviews have appeared in abridged versions elsewhere; here they are printed in their entirety. (And the Preface to the book is not to be missed!)
The highlight of the book for me, however, is an interview with actress Phoebe Dorin. Here, Dorin spends little time talking about herself. Instead, she spends most of the interview recounting her long relationship (both professional and as friends) with the late actor, Michael Dunn. Readers will remember Dunn best from his recurring role as Dr. Miguelito Loveless on The Wild, Wild West television series. Dunn, a victim of a bone disease that caused his shortness (he was often incorrectly labeled a dwarf) and early death, becomes a larger-than-life figure in the hands of Dorin. Many fans may not know that Dunn was an actor on Broadway (and received a Tony nomination), had an incredibly accomplished singing voice, and was a nightclub performer, teaming with Dorin for a song-and-comedy act that became both very popular and acclaimed. It is refreshing and welcome to finally read something about Dunn that does more than concentrate on just The Wild, Wild West portion of his career (although it IS discussed here), or that focuses almost exclusively on his size. Learning the many things we do about Dorin and Dunn’s relationship, and Dunn in particular, is both fascinating and heartbreaking. Michael Dunn had a bigger heart and was a “bigger” person than most people of normal stature, and this sentiment comes through beautifully thanks to Dorin. Rarely has an interview moved me as this one did. The only downside to the book is my usual
complaint with books from McFarland: the price. While Science Fiction Confidential
is certainly well worth the price, it almost certainly is going to be out of the price
range of many of the monster fans the book is intended for. Which is a shame. Monster fans
shouldn’t have to wait for such an enjoyable book to arrive in a more affordable
paperback version.
Whereas much critical ink has been spilled analyzing the invigorating psychological tragedies and supernatural incarnations of Universal Studio’s traditional monsters, and equally ample space has been afforded to the blood, breasts, and barons spectacles of the techno-color revisionist Gothic shadow-shows of Hammer Studios, with authors and film historians amply exploring the rise and fall of the horror film through two of its major cycles of productivity – the thirties and early to mid-fifties – the shoe-string quickie efforts of the late fifties have seen little interest and even less press in a genre often content to ignore its poor but well-meaning cousins in favor of the few polite mainstream "class" A-pictures (Rosemary’s Baby, Jaws) that received big box office bucks and critical hand-claps.
Examining fifty of the best-of-the-worst shoe-string monster movies of the atomic-and-juvenile delinquent age with impressive energy, enthusiasm, and scholarly aplomb (without the intrinsic boredom), Sleaze Creatures is anything but cheaply researched. As much a story of the movies as it is a synopsis of several different low budget fear-feasts, such dark cinematic diamonds-in-the-rough as Roger Corman’s It Conquered The World, American-International’s Invasion Of The Saucermen, and Herbert Strock’s inept but delightfully campy How To Make A Monster (itself a tribute to the fading B pictures of the era and one helluva good time!) are discussed by Worth in an easily accessible, refreshingly non-pretentious style. Examining each film through the eyes of both critic and fan, Worth’s authorial style offers solid film analysis with the ease of a friendly discussion. Only rarely does the author’s enthusiasm wane. More often, Worth’s criticisms are right on, lending texture and richness to what otherwise could have been a bare-bones plot synopsis only omnibus of obscure film titles. A righteous explosion of text and stills, fact and fun, Sleaze Creatures’ primary merit is a staunch refusal to take itself too seriously, joyfully following the example of the many obscure cult-status writers, producers, directors, and actors explored within its sturdy, wonderfully illustrated covers. Worth’s essays on each film is equal part fan discussion and journalistic expose. Playing the part of genre historian and entertainer, Worth mixes fact with rumor, interweaving fact with legends, on-set difficulties and triumphs with behind-the-scenes revelations gleaned from discussions with the film-makers themselves (or family and friends). Including a meticulously detailed synopsis of plot and theme, each essay strives to place the reader within the confines of both cinematic story as well as the events which led to the formation of each feature, including invaluable comments on such macabre icons as Roger Corman, Samuel Arkoff, Dick Miller, and several lesser known names which Worth’s writing unearths from beneath moldering tombs and director’s chairs. Including an informative introduction which discusses the major studios and economic environment of the late fifties, each film review is also accompanied by gorgeous, hard to find poster and film stills, adding still another touch of validity, class, and--dare I say fun?--to this handsome, sturdily produced book. Filled with photos and gorgeous art, Sleaze Creatures is nothing less than a loving homage to the labor-of-love-and-dollars film making of a time gone by. From the god-awful, virtually plotless stinkers of Ed Wood’s Night Of The Ghouls to the surprisingly social-conscious sub-text of I Was A Teen-Age Werewolf, errors are pointed out, struggles charted with open eyes, and embarrassing filmatic oversights mercilessly (and rightly) pointed out alongside the humble if hard-earned success of movies that somehow, some way, managed to address its cultures thorniest dilemmas and innocent dreams. Fables of mutants and monsters, mad men and science gone astray, the creature-features of the late fifties were an often unconscious running black-and-white commentary on the mom, guns, and apple pie morality of an age mistrustful of its youth, its science, and its ever widening expansion of societal and personal doubt. Although I would hardly claim such hands-on artists as Bert I. Gordon or Samuel Z. Arkoff, or James H. Nicholson were attempting to achieve anything more or less than entertaining, profitable movies, many of their motion-pictures nevertheless addressed such culturally relevant themes as cultural disintegration and alienation, generational conflict, the desire for and subsequent fear of technology and medicine in the uncertain Nuclear Age, both the joys and inherent dangers lurking in greater individual and societal freedoms, and what many parents perceived as the growing threat of juvenile delinquency – whew! – all this and big bugs too! Beneath the cheaply produced latex rubber masks and anti-acid bottle laboratory equipment were unflinching social commentaries and warnings, giving faces to fears unapproachable in any other way. In its own colorful, offbeat way, Sleaze Creatures captures the politically significant essence of this cinematic period without bypassing the pure fun or shudders that undeniably remain the primary fun and function of such films.—Reviewed by William Simmons
Monster Kid Memories, by Bob Burns, as told to Tom Weaver. (Published by Dinoship, 2003, 240pp., pb, $14.99.) Monster Kids are a devoted, and for the most part, generous group. When a Kid acquires some particularly interesting, rare, or noteworthy piece of information or collectible, we don’t hesitate to share it with fellow Kids (but collecting a few oohs and aahs along the way doesn’t hurt!).
Yet, despite his extreme good fortune, which could turn lesser men selfish and possessive, Bob Burns never hesitates to share his stories, anecdotes, collection, and super big heart with others. At long last, Burns, in collaboration with horror/science fiction genre writer Tom Weaver, has gathered a collection of his wonderful experiences in Monster Kid Memories. Here, Burns shares many of the highlights of his life with fellow fans, in addition to hundreds of amazing, seldom-seen photos (the book contains over 300 illustrations), including one very special, never-before seen shot of the Martian costume from War Of The Worlds. Ever the selfless, generous Kid, Bob turns the spotlight on others, allowing them to shine. We: listen with envy as he describes seeing Bela Lugosi on stage and relates his encounters with Karloff, Elsa Lanchester, Chaney Jr., George Pal, and William Castle; visit the sets of films (Destination Moon, Unknown Island, the 2002 remake of The Time Machine); learn the intricacies of portraying a gorilla; discover the man behind the genius that was Jack Pierce; help Bob rig the seats for a showing of The Tingler; and learn of Bob’s innumerous movie prop acquisitions over the decades (he owned the original Time Machine!) and how he came to possess them – these are just a handful of the many treats awaiting the reader. The book contains numerous highlights, but a few deserve special mention: The chapter where Bob discusses his friendship with Glenn Strange (the man behind the Frankenstein monster in the Universal House films and Abbott And Costello Meet Frankenstein) is touching and sweet. The two men first met when Bob was a teen, but a genuine friendship started, and lasted until the day Strange died in 1973. The two men shared many experiences together, and such a bond developed, that Burns came to think of Strange as a second father. It’s wonderful to read of a friendship between two men like this, and to have Strange step out of those huge Frankenstein monster boots (which Strange gave to Burns by the way, along with an unused Monster headpiece) and learn that he was just a down-to-earth, regular Joe. A chapter detailing Bob’s friendship with George Pal is illuminating. We learn that Pal was a warm and fun-loving man, in addition to fascinating facts about the making of Destination Moon, The Time Machine, and War Of The Worlds. Unfortunately, the chapter is also heart-breaking. To learn Bob’s opinion of what really killed Pal is to want to storm the offices of today’s Hollywood bigwigs with torches and pitchforks. The fact that Bob relates the lives and stories of many "behind-the-scenes" people – people whose names won’t ring any bells and often don’t receive any of the credit and recognition they deserve, is refreshing and very welcome. Some of the make-up artists, stuntmen, bit players, prop and special effects people that Burns knew receive their just due here, and I was grateful to learn of some of the "invisible" people behind some of my favorite old-time films and serials. Lastly, the chapter that details the history of each of Bob’s Halloween "haunted spectaculars" made this reader greener with envy than Elsa as the monster in BRIDE OF FRANKENSTEIN. Reading of the amount of time, effort, and talent that went into producing each of these shows, merely for the entertainment of friends and neighborhood children, is a testament to just how big Bob Burns’s heart really is. The mere fact that these memories, and much more, are captured in one book is reason enough to recommend it. But quite often the telling of one’s life to another can make for a dull, difficult read. Not Monster Kid Memories. Although many of these memories occurred decades ago, you wouldn’t know it to read it. When he’s relating one of his many stories, there is such genuine excitement and enthusiasm emanating from Burns that you swear you’re sitting in a chair across from him, listening, caught up in his excitement - several times while reading I found myself actually exclaiming, "Oh, wow!" This sense of fun and "gee-whiz!" excitement, perfectly captured and transferred to the page by co-author Weaver, is the book’s grand accomplishment. For several hours, the reader once again becomes a little 15-year-old boy (or girl!). Only a handful of books can accomplish magic like this, and Monster Kid Memories is one of them. My only regret is the fear that the title might turn away a wider audience. While the book does concentrate primarily on Burns’s association with monsters and science fiction, a potential reader should know that these stories will appeal to anyone. You don’t have to love monsters and aliens – Bob Burns does, and the kid-like joy and genuine love that he has for his subjects spills over onto the page and will captivate any film fan. Just a terrific book.--Reviewed by Jim Nemeth (this review originally appeared in Monsters From The Vault, issue 16)
John Carpenter: The Prince of Darkness, by Gilles Boulenger (2003, Silman-James Press, 298pp, PB, $19.95). In John Carpenter: The Prince of Darkness, French author and magazine publisher Gilles Boulenger conducts a lengthy (book-length, obviously!) interview with the man who has done more for the horror movie genre than any other director working today. In the book, Carpenter touches on and discusses each of his films – from the student project Dark Star from 1970 to his most recent (at the time of this book) The Ghosts Of Mars – revealing his thoughts and memories on the inspiration, method, problems, filming, cast, box office, lessons learned from his successes and failures, and more.
It is a wonderful, in-depth look into the mind of a modern-day director. Particularly interesting is seeing, through Carpenter’s own words, his growth in maturity as a director, both in his craft and, sadly, learning how the "studio system" really works--executives who don’t know what they’re doing making decisions that usually worked to the disadvantage of the film. Through the book we read, fascinated, as Carpenter’s career comes to resemble a roller coaster – we read as the director’s films slowly rise in terms of success, accolades, and budget, culminating in a huge hit or peak – invariably followed by a huge failure, sending Carpenter plummeting back down the ride that is a career as a film director, resulting in him basically having to start over from scratch. Author Boulenger is an intelligent and insightful interviewer. He seems to know every minute detail about Carpenter’s movies and often brings to the table telling insights and interpretations that even Carpenter hadn’t thought of, but readily agrees to. The book is generously illustrated with photographs and some sketches, including a handsome 24-page collection of color photos. Only a few minor problems for me with the book: while each of Carpenter’s films are touched on and discussed, some are not "…thoroughly…" discussed as the book’s back cover offers. While one can argue their quality or importance, some films, such as Body Bags and Elves: The Movie--among others--are allotted just one or two pages. Also, while the behind-the-scenes photos in the book are interesting and fun to have, many of the production photos reproduced here are very common and have been seen many times before. More unique, less often-seen photos would have been nice. But those two minor quibbles cannot begin to take away from the greater achievement of the book – a fascinating, thoughtful, career-spanning, one-on-one personal conversation with the man who’s made some of the most important and interesting horror movies in the past few decades. Highly recommended.--Reviewed by Jim Nemeth
In James Whale: A New World Of Gods And Monsters, author James Curtis presents the most complete and detailed biography of Whale to date. This is a new paperback reprint of the 1998 Faber & Faber edition. This book was one of the highlights of my 2003 reading. Only being familiar with Whale’s horror films – with a smattering of knowledge of his non-horror output – this book was revelatory. It presents a complete and balanced picture of Whale’s personal life, as well as the complete oeuvre that was his career.
Of particular note, as mentioned, this book discusses Whale’s association with the Laemmles of Universal Studios. As Whale spent much of his film career working for Universal, it’s natural that he would have much contact with both Laemmle Sr. and Jr., and one would expect a book to document these encounters. However, an unexpected pleasure is that the author goes far beyond just detailing the association between Whale and the Laemmles – the author additionally documents the history of Universal while under the reign(s) of the two moguls, as well as doing a fine job of providing fairly detailed bios of the men. The book naturally touches on Whale’s homosexuality and nicely gives it only the weight and attention it deserves. Both speculation and evidence are given on the effect his sexuality might have had on his career, how much his sexuality is reflected in his work, as well as how he lived his life as an open gay man in 30s – 50s Hollywood. Talking with people who actually knew Whale, including his (now late) companion David Lewis, it’s nice to see the book give balance against other books that overreach in their attempts to "claim" that Whale was quite flamboyant, and that his sexuality is so "obviously" reflected in almost all his work. For those only interested in Whale’s horror output, the book does not disappoint. Frankenstein, The Bride Of Frankenstein, The Invisible Man, and The Old Dark House are all here, and receive substantial coverage. Among the many interesting items here, the whole debate concerning Robert Florey and Bela Lugosi’s association with Frankenstein, particularly the extent of their involvement in said film, is revisited, with the known facts presented and new opinions given. The author also revisits the age-old myth concerning Whale’s possible jealousy of Karloff due to the fame achieved by the latter via his portrayal of the Frankenstein monster. Numerous photographs from various estate files and complete chronologies of Whale’s stage and film work enhance an already distinguished tribute. James Whale: A New World Of Gods And Monsters is not only one of the best books I’ve read this year (given that I didn’t read the original edition), but also one of the finest biographies I’ve had the pleasure of reading, regardless of genre. Well-written, balanced, meticulously researched, it keeps the reader turning the page and longing for more when finished. It would be a great disservice to both the author and a potential reader for this book to be pigeonholed as being just a bio of a "horror film" director – Whale was much, much more than that – a multi-faceted personality whose talents were numerous and found expression in many different artistic arenas and genres. Author James Curtis does a superb job of laying out this fascinating life, and giving Whale his much deserved due. Simply an outstanding book.--Reviewed by Jim Nemeth (Interested in submitting a book review? Just send it here!) Book reviews, unless separately by-lined, are copyright Joe "Renfield" Meadows. By-lined reviews are the copyright property of the authors. |
(and bandwith) on the subject of the drive-in movie theater.
Well, boils and ghouls, the reasons are as numerous as the old Renfield’s warts. The
main reason is that the drive-ins once provided a huge, flourishing market for low-budget
movies, providing the right incentive for the Roger Cormans, Jerry Warrens, Ray Dennis
Stecklers, et al., to produce their stuff for the delectation of horror fans
everywhere. And what better place than the drive-in with its neon glow, the sky full of
stars, the smell of popcorn and corndogs, and dusk-to-dawn shows to watch a creepy classic
in? For Baby Boomers to recall those horror halcyon days (and for Generation Xers to learn
about them) there is Don and Susan Sanders’ new, big, glossy, coffee-table book on
the history and culture of the "outdoor movie theaters." Jam-packed with
drive-in photos and associated graphics and artwork, The American Drive-In Theater
is a fine tribute to watching films under "heaven’s cover." Don and Susan
Sanders, who reside in Dallas, Texas, are drive-in theater fans, and that lively interest,
even devotion, to this truly American institution really shines through the pages of their
book. Although the Sanders do a thorough, albeit quick, job of canvassing drive-in
history, their main focus is the Fifties, where the drive-in was truly at its zenith (and
some of the best-loved classic horror flicks graced drive-in screens). As the Sanders
point out, the drive-in was more than a cheap alternative to the "hardtop"
indoor theaters. Drive-ins were (and still are) a place for social gatherings (especially
for the mobile young) and the perfect solution for families with
children—there’s no need for a baby sitter. All this and much more of the unique
drive-in experience is brought to pictorial, sequential life in The American Drive-In
Theater. Our only criticisms of the book are its short length (160 pages) and its
breakneck pace in covering drive-in history—one would wish a more leisurely spin
through that subject. Also, the actual phenomenon known as the drive-in movie receives
rather short shrift; obviously, that’s a subject for another book. Overall, though, The
American Drive-In Theater is recommended reading (actually, "looking," since
the photos in it alone are worth the price of admission) and certainly deserves a place in
a former or current drive-in fan’s library. By the way, Don and Susan Sanders
maintain an excellent 
the fact that artists involved in these films now have
venues to record their memoirs, whereas in the past they were simply ignored. Tom
Weaver, arguably the top horror film writer, worked with Robert "Hideous Sun
Demon" Clarke to put the latter's celluloid career in print and this book is the
result. To "B" is chock-full of interesting memories, anecdotes, and
behind-the-scenes looks at the career of an admitted minor movie actor who nonetheless was
involved in two of the most memorable cult horror/sci-fi films ever--The Hideous Sun
Demon (1959) and The Man From Planet X (1951), not to mention schlock
classics such as The Astounding She-Monster (1958), whose profitability inspired
Clarke to make Sun Demon, and The Incredible Petrified World (1960).
This is not to ignore Beyond The Time Barrier (1960), directed by famed
low-budget director extraordinare Edgar G. Ulmer (who also directed Planet X).
For these films alone, Clarke has earned his niche is genre film history, and To
"B" is a fitting testimony to him. This is largely due to Weaver's skillful
writing that packs lots of facts and stats in the narrative, yet makes it all appear as if
it is Clarke speaking to the reader. From Clarke's beginnings as a contract player at RKO
Studios, where he worked with Producer Val Lewton and horror icon Boris Karloff on The
Body Snatcher (1945) and Bedlam (1946), the book maps the career of a
level-headed and self-effacing actor who truly appreciated the opportunity to act, no
matter what the role or the film. Interestingly, Clarke was involved in now-cult director
Ida Lupino's (a top actress who was one of the first women to direct in Hollywood)
breakthrough film Outrage (1950) which concerned the then verboten subject
of rape. Also, when his acting career waned in the early Sixties, Clark married one of
TV's singing "King Family" sisters and worked on that show for years. (To think
how I fled the TV room back then on Saturdays when my parents tuned to the King Family,
never knowing that the Sun Demon was one of the cast!) To "B" is a good
"read," and a fun one too. The exclusive photos and stills and Clarke's
descriptions of losing his shirt on Sun Demon and working with schlock director
Jerry Warren make this must reading for horror and sci-fi cultists.
read (such as To "B" Or Not To "B" reviewed
above) and others are not such a great read but serve as a handy reference. Hammer,
House Of Horror falls distinctly in the latter category. Author Maxford is a
British journalist first (a particularly dry-spoken one) and a Hammer horror fan second,
and his terse and sketchy rendering of the Hammer Studio story is fine from a bare-bones
journalist perspective, but it doesn't make for engrossing reading. Indeed, he covers
Hammer's fascinating early history, beginning as a small film distribution and
(eventually) film production outfit ("The Exclusive Years"), in a few largely
unadorned pages (the book overall boasts numerous black-and-white and color photographs).
Even when the story segues into the early Peter Cushing/Christopher Lee horror classic
remake period (Curse of Frankenstein, Horror of Dracula), Maxford continues the
clippity-clop pace, giving some details, but overall covering the subject superficially.
Even poor Professor Quatermass, a popular British cultural icon, gets relatively
short shrift. The book has a dearth of interviews and offers only the occasional anecdote
to spice up the "just the facts, ma'am" narrative. Obviously, a book that
expends less than 200 pages, many of them filled with artwork, to tells the Hammer tale
isn't going to plunge deep beneath the surface; Maxford barely skims it. This prevents
this tome from being anything like a definitive history of Hammer Studios. What, then,
does it qualify as? It does serve as a handy reference, especially with its complete
filmography and somewhat spotty "Who's Who" at Hammer. The photos, especially
the color photos, are well-chosen and nicely rendered (the color shots are displayed on
slick paper). Thus, as reference, this little tome could beg a place in your library...as
long as you can find a copy in the bargain bin, as its list price is a bit heavy
considering the lightweight content.
that
manages to be both informative and interesting to read. Fragments Of Fear details
the long and bumpy saga of horror films produced in the United Kingdom, ranging from the
horror morality plays of Tod Slaughter (The Face At The Window) to the literate,
blood-splashed films of Clive Barker (Hellraiser). As Boot notes, horror has
never been an entirely legitimate genre in the minds of the establishment film industry in
Britain. This has led to a number of spurts of horror filmmaking in the U.K., followed by
stretches of relative inactivity in the genre. The fact that almost from the beginning
British censors slapped the dreaded "X" certificate (adults only) on horror
films (even non-explicit efforts like Dracula) caused a slightly unsavory aura to
clung to horror filmmakers there. Ironically, for a significant period of time, horror
films were about the only game in town for many British actors and actresses, some of whom
more or less held their noses and acted in them to avoid unemployment. Yet, the horror
genre also attracted genuine talents, such as Michale Reeves (The Witchfinder General,
AKA The Conqueror Worm). As a result, the story of British horror cinema is a
fascinating one of talented professionals such as Slaughter, Hammer's Tony Hinds and
Terrence Fisher, and Amicus' Milton Subotsky scraping and scrambling to bring their own
personal "fragments of fear" on film. Although Boot does tend to take a clinical
approach to depicting the films and filmmakers involved in British horror cinema, his text
provides a wealth of detail and ample historical and social perspective on the subject. As
an example, Boot's depiction of the American influence and contribution to horror cinema
in the U.K. is quite eye-opening. The text is amply illustrated, albeit only in
black-and-white, which may disappoint some readers; certainly, a book in this price range
could have included some full-color illustrations elsewhere than just the front and back
cover. Still, it is still an authoritative and readable history and, thus, stands as a
valuable contribution to the history of fright films. Find a place for it on your
bookshelf.
once-popular
"spook" or "horror" shows shown usually at midnight in theaters and
movie house across the nation from the Thirties through the Sixties. This is a real shame
because, as author Walker amply demonstrates in his book, these midnight spook shows were
frightening fun at best and worth a laugh at their worst. Nearly all the spook shows were
put on by magicians and illusionists, which meant audiences were actually treated to a
magic act that contained horrific elements. These elements ranged from "spooks"
flying through darkened theaters (mainly luminous-paint banners waved from the stage) to
actual Grand Guignol-type decapitations and other gory demonstrations by a
"mad scientist"...even Dracula, the Frankenstein Monster, and other horror icons
made an appearance (Bela Lugosi himself appeared in a few shows). Walker is a magician and
a collector of spook show memorabilia, so he definitely knows his subject and has a
fondness for it as well. This more than makes up the sometimes dry prose style he employs
and the too-sketchy history of the spook show phenomenon. Walker spends a considerable
portion of the book's 176 pages detailing the careers of individual spook show
emcee/magicians, which may not be to everyone's taste. The book is well illustrated with
advertising material and shots of actual performances. If you can stand the high price for
a relatively thin volume (or can find it on sale), this is a real treat for horror fans.
If you weren't able to attend the midnight spook shows, at least you can relive them
through this fascinating history.
accomplished,
both genre and non-genre, in his long career. The publishing of his autobiography, thus,
is an event for horror fans, and Mr. Sangster does not disappoint. In a breezy, easygoing
style, he cheerfully and forthrightly details his years with Hammer Studios, the British
cinema industry, and old Tinsletown. itself. Sangster eschews both formal structure and
strict chronology in writing his memoirs. He simply tells his story as it flows from his
memory, and one gets the delightful impression of listening to him in a cozy pub over a
couple of pints of bitter. He is refreshingly candid and self-effacing in reciting his
filmic accomplishments--perhaps too much so for some fans. For example, he contends that Horror
Of Dracula, universally regarded as one of the best horror films ever made, was
"a pretty good movie...But masterpiece! Come on!" As he explains, much of what
he wrote was to pay the rent and usually influenced far more by the movie's (usually low)
budget than by any artistic aspirations. He speaks his mind about his fellow Hammer icons,
but is also pretty unmerciful with himself. This makes Do You Want It Good Or Tuesday?
(another reference to the realities of tight-budget filmmaking) a great read as well as a
valuable history of Hammer Studios and genre filmmaking, and an needed dash of
cold water for those of us who make, perhaps, too much of what Sangster and his
contemporaries cranked out against tight schedules and even tighter budgets. This book is
definitely a "keeper" for any horror fan. By the way, Jimmy...Horror Of
Dracula not a classic? Come on!
"snuff"
flicks have been a part of popular movie culture. In this lavish (and even lasciviously)
illustrated tome, packed with well-documented research, Kerekes and Slater burrow deeply
into modern Western culture to root of the continuing public interest in the bizarre and
the beastly on film. The book's sections on Mondo film are interesting and informative,
but for horror film fans, the book's long look at gore films is especially intriguing. The
authors pretty much establish that so call "snuff" films (in which a person is
actually filled on camera) are a hoax. The original film Snuff (1971) was
produced by Michael and Roberta Findlay, softcore porn producers, whose best-known work is
the S&M "Olga" series (they later made the cultish killer-Bigfoot feature Shriek
Of The Mutilated). The Findlays lensed a cheap, almost unwatchable film in Argentina
about a group of Manson-like murderous youths, slapped some faked footage at the end
depicting an actress being slaughtered in a studio, and fooled the public into believing
they were watching an actual "snuff" film. As the authors point out, even after
that fraud was exposed, the public continued to believe that "snuff" films and
horror films featuring actual carnage were flooding the country--and subsequently flocked
to see the faux blood-and-gore flicks that did flood the theaters in the
Seventies and Eighties. Truly, as this book makes clear, "killing for culture"
was and is a profitable practice, and today's horror films, even those trying to revert
back to the imaginative rather than the explicit, are irresistibly influenced by this
box-office reality. The book's clear and detailed delineation of how the horror film has
evolved from Frankenstein and Dracula to Freddie and Jason makes this book a must for a
horror film buff's bookshelf. As an added bonus, it's well-written, highly informative,
and totally unique. But, be warned--it's definitely a book for adults--taken our word for
it.
Faces, author
Michael F. Blake strips away the make-up to finally reveal the multi-talented individual
behind the amazing characterizations.
personal style (you come to feel that
Leigh is having a conversation with the reader, rather than writing to him/her), provides
the behind-the-scenes look and her perspective on all aspects of the making of the film.
Nickens makes appearances throughout, throwing in detailed "hard" information.
He also writes a lengthy, informative prologue, outlining the history leading up to the
start of production, from the acquisition of the Robert Bloch novel to the securing of the
various actors.
over a seven-year
period...and yet, and yet. Somehow Adamson's films have a charming earnestness, a
goofy charm that enables many genre fans to watch his cinematic car-crashes with affection
and even a grudging respect for a guy who managed to make something out of virtually
nothing. This kind of convoluted tribute is paid to Adamson's scorched earth
approach to filmmaking by freelance journalist David Konow in this long-awaited
filmography. Konow, an admitted Adamson-admirer (i.e., movie masochist), takes a
breezy, anecdotal approach to detailing Adamson's career on the far fringes of Hollywood
and gives us the inside scoop to how Adamson made movie for pocket change. From
piecing together films from various other films, to re-naming older films constantly to
fool exhibitors and audiences into believing they were getting a new movie (at one time
you could catch the same Adamson film playing under different titles on late-night TV and
at your local cineplex), to sweet-talking Colonel Sanders into providing free fried
chicken for his underpaid and overwrought film crew, Konow reveals what can be called the
"Adamson touch"--the fact that Adamson put the "touch" on everybody
and anybody to get a film in the can. But Konow also movingly recounts
Adamson's loving marriage to his leading lady Regina Carrol and makes it clear that
Adamson truly loved movies and moviemaking and tried to do his best with the pitiful
resources at his command. With Adamson's relatively recent murder, this book
has unintentionally become an appropriate epitaph and tribute to the former schlock-movie
Auteur. Konow's tome is nicely illustrated, although a tad thin (especially for
$19.95 per copy); rather like Adamson's films, it seems a bit low on value for money, but
still manages to entertain.
all the skills of that master
sleuth to put the pieces of the Burton puzzle together into a coherent whole. And
Burton is a puzzle. He has created a public persona for himself (much as all people
in the public eye do), and is not interested in allowing people to see the private man.
He gives many magazine interviews, but they are to promote his work, not himself.
But it is via those interviews, tales of the genesis and fruition of Burton’s
projects, and interviews with other movie makers that author Ken Hanke puts together the
clues and deduces much about the inner life of Tim Burton. More than anything else,
this book is an overview of the ouvre of Tim Burton, thoroughly discussing his throes of
creation for each film--from the beginning of his career as he struggled to get the
unique, five-minute short Vincent, and the 25-minute Frankenweenie off
the ground. Despite the initial setbacks, to be expected when an individual bucks
the going trends of major corporations who wish only to be assured of making money, these
films did in fact act as successful stepping stones to his first "big" success, Pee
Wee’s Big Adventure. With the success of Beetlejuice and then Batman,
his future was assured and the director has never really looked back. It is
Hanke’s contention that any director reveals more of himself in his work (and what he
chooses to work on) than he in fact means to do. Hanke terms Burton a "poet of
suburbia," and in every film discussed manages to see a connection--a criticism, a
spoof, or a satire--to the suburbs of Burton’s childhood; the neighborhoods where
conformity was everything and anything different must be wiped out, while in the
"real world" that the suburbanites ignored the country faced such threats as the
Cuban missile crisis and other means of death, and this dichotomy caused the youngsters
growing up at that time to rebel when it came to be their turn as adults. Hanke is
an excellent and extremely knowledgeable writer, the narrative moves along quickly, there
are dashes of humor and insight. They are Hanke’s insights, however, based on
his views of the Burton films, and his knowledge of human nature, his assumptions on what
makes Burton tick. His assumptions make a lot of sense, but are they really
the truth? Much of Burton’s psyche remains a mystery...but that is what
intrigues his fans most about him.--Reviewed by 
incorporate color photos with
several gorgeous shots chosen for the honor. Price once said, "A man who limits
his interests, limits his life." Because he lived by that creed, it’s
impossible for author Williams to do complete justice to that long and fascinating life in
the less-than-50 pages allowed her by the format. However, although short, Williams
biography is by no means superficial. Born into an upper-middle-class family in St.
Louis, Missouri in 1911, Vincent was the youngest of 4 children. He began collecting
art at the early age of twelve, and indeed collecting art was his life long passion.
He started acting in London, England while working on his MA, and in a fairy-tale
discovery story, was spied by an American producer who decided to cast him opposite the
"first lady of the theater," Helen Hayes, on Broadway. The play, Victoria
Regina, was a success, as was Vincent Price. He was all of 23. In brisk,
knowledgeable prose, Williams recounts the growth of Price’s Career--plays, radio
television and motion pictures. She tells of his three marriages, his two
children. She describes his writing accomplishments, his popularity on the lecture
circuit. She mourns his frustrations with his later film roles. And she
concludes with a moving account of his last years. The film synopses and critiques
are delightfully written and full of humor (even though there’s one more than there
should be). Excerpts from contemporary reviews and reminiscences from actors who
worked with Price on the various productions, provide fascinating insights into
Price’s life and work. (Louis M. Heyward, on the making of War Gods Of The
Deep, in a statement that would be funny if it weren’t so tragic: "Vincent
and I had a community of interests (art and cooking, among others) to keep us busy
talking between takes. Occasionally, he would read a line, then look at me and say,
‘Deke--dear, sweet Deke--you are screwing my career into the ground!’ And
indeed I may have (laughs)!") The Complete Films Of Vincent Price
is all that a discriminating Price fan could ask for…which is unfortunately more than
can be said of Midnight Marquee’s fourth installment in its actors series, Vincent
Price. There are 35 essays on 41 Vincent Price movies in Vincent Price,
(edited by
Gary J. and Susan
Svehla, Midnight Marquee Press, 1998, 352 pages). The intent is "to
cover all the important Vincent Price performances." For the most part,
unfortunately, the writing talent gathered here do not accomplish that goal in meaningful
fashion. Some of the movies covered…aren’t important. (Or if they
are important, we aren’t told why). The essay on the film Bagdad
(1949), for example, consists of three pages: a couple of photos, less than two pages of
synopsis, and five brief paragraphs of bland commentary. (Price had had a slight
accident before filming which caused one eye to swell shut. Author Susan
Svehla apparently wasn’t aware of this, for we are told only, "...his right eye
remains wide open, but the left is almost closed, making the handsome man appear menacing
and sinister.") No one, not even the essay’s author, seemed to have liked
the movie. Was it important in that it somehow helped or harmed Price’s career?
We are not informed. What was so important about The Offspring that
it needed to be included in the same essay with The Whales Of August?
And since the essay is supposed to be about The Offspring
and The Whales Of August, why isn’t it? Instead, the author skips very
lightly over those and several other subjects--his own meeting with Price, his writings,
and even Price’s final appearances in The Heart Of Justice and the
long-delayed The Thief And The Cobbler. The lack of detailed criticism is
the bane of the book; more than half of the chapters consist only of long synopses, (The
Offspring and The Whales Of August are two that aren’t even given
that), a few bland paragraphs of opinions, and nothing more. One learns more reading
the one and a half page treatments in The Complete Films of Vincent Price!
There are certainly diamonds among the rough. Two stand out in particular as
examples of what this book should have been: Bryan Senn’s Tower Of London
and The Witchfinder General. The movies, and the performances within them,
are analyzed as well as synopsized, in prose that is informative but by no means scholarly
and dry, and we actually have learnt something new about the films after having read them.
What makes this book worth buying for Price fans, however, is the inclusion of a
previously unpublished interview of Price by Lawrence French, an excellent if staccato
essay on his radio oeuvre (Price’s favorite medium), and an appreciation of
Price’s one-man show about Oscar Wilde, Diversions And Delights. It is
fitting that this piece on the theatrical production is included, for Price considered it
his finest work. As Price told author Tom Johnson, "Diversions And Delights
is entirely different from anything I’ve ever done before and it’s the biggest
success I’ve ever had…A couple of critics said they had seen me do so many
horror pictures that they were amazed to see me do this." These are clearly a
pair of critics who deserve the fate of their compatriots in Theater Of Blood.
However, there is no denying it, "Price’s best was Wilde!" --Reviewed
by 
Borland's life-long infatuation with
Lugosi, the history of women in the genre is pitifully lacking. Until now.
Author Gregory Mank takes a huge step to rectify this situation by shining a well-deserved
and much-overdue light (torch?) on the women whose contributions to the early horror
classics have been overlooked and under-appreciated for far too long. Concentrating
on the classics of the Thirties, Elsa Lanchester, Helen Chandler, Gloria Stuart, Carroll
Borland, Fay Wray, and even high-pitched screamer Una O'Connor join a long, distinguished
list of women who have their lives and careers presented to us by Mank. Each actress
receives a mini-bio, which includes stage and screen appearances. Of particular interest
(and a highlight of the book) is a detailed and engaging look into each actress'
"signature" horror film, revealing dates, salaries, production notes and stories
of co-stars and directors. Punctuated into this are insights and other information
provided by research done by the author or the reminiscences of the subject herself.
These wonderful personal anecdotes were culled from interviews with Mank by a surprising
(to this reviewer) number of the actresses who were (and some who happily still are) with
us at the time of the author's research. Mank's impressive research allows us new insights
into each performer. In so doing, each actress takes on a new life for the reader, a
life whose existence had previously only been hinted at. They emerge from being
known simply as stock characters in movies: "the victim," the
"hapless heroine," or "the monster" to stand revealed as real flesh
and blood women. Women who are intelligent, opinionated, witty, dedicated,
hard-working and passionate. Not mere characters anymore, but actually
three-dimensional character actresses. A wonderful and deserved achievement
indeed. Always an engaging read, generously illustrated with many wonderful (and
unique?) photos, this book is well worth the (usual) McFarland price tag, and is an
essential addition to any horror film buff's collection. --Reviewed by Jim
Nemeth
sake! With a career that spanned six decades and films that ranged from acclaimed
classics (The Grapes of Wrath) to undisputed stinkers (can you say positively
about Billy The Kid Vs. Dracula?), author Tom Weaver deftly documents each and
every film of the multi-talented actor. Complete cast and credit listings, synopsis
and author commentary for each film are included, as are remembrances from various
co-stars, directors, Carradine's sons and even Carradine himself. Weaver's
commentaries on many of the films spices up the usual dryness found in many "Films
Of" books, due to their rather strict cast/crew/summary formula. An opinionated
reviewer/critic, Weaver doesn't pull his punches in offering up his takes on Carradine's
films. Whether or not you agree with his views, it's nice to hear definite opinions
for a change in a book like this, instead of the oft-times
"take-no-controversial-stand" approach which, while certainly objective, doesn't
always make for the most fascinating or interesting reading. And for regular readers
of the author, not to fear...the classic puns are here in good abundance, and will not
fail to make one groan and shake one's head on occasion. Rounding out this tribute
to the "thin" Dracula are recollections of Carradine from directors Joe Dante
and Fred Olen Ray, and a mini-biography by Gregory Mank. Carradine's flamboyance,
lust for life, and love of Shakespeare, as well as his regrets and resignation to the many
poor roles he either chose or was forced to accept in order to "feed his family"
are just a few of the many sides to Carradine that are nicely captured by Mank. In
all, Tom Weaver has assembled a fine and fitting tribute to a too-long overlooked
personage of classic horror history. Par for the course for the author, John
Carradine: The Films is thoroughly researched, hugely informative, frequently
amusing, and most importantly: simply a must-have book. --Reviewed by Jim Nemeth
in Europe, to his first major stage role (and huge hit) in Victoria Regina,
his stage, television and film work, marriages, children, interests in travel,
public-speaking, cooking, writing and well-known and life-long love of art are all
here. For those who must have something a little more lurid, heretofore-unknown
facts about his involvement with the Fifties McCarthy witch-hunts and the rather shocking
deal he made, and his sexuality are touched on. The greatest achievement of this book,
however, owes as much to Vincent Price himself as it does to the author. Throughout his
life Vincent wrote (and kept) an enormous amount of correspondence. With this wealth
of personal documents at her disposal, Victoria sprinkles quotes from Vincent throughout
the book. Thus, we are fortunate to have Vincent’s life unfold before us as if
Vincent himself were relating his own story. His triumphs, failures, joys, fears,
pain. Vincent talks to us about each. Never before has a person’s life, documented by
another, been brought so close to the reader, or made so personal. Many thanks are due,
both to Victoria and Vincent for this wonderful accomplishment. There are a few downsides
to the book, however. The book is lacking when the author discusses her
father’s films. She has over the years admitted that she never really watched her
father’s horror pictures. As such, we regretfully do not gain many insights into the
making of those films that we didn’t already know from other books. This is a huge
opportunity lost. And sadly, the slant that comes across when the author discusses
her (deceased) stepmother, actress Coral Browne, is decidedly negative. While
entitled to include or discard facts as one wishes (for this book is as much a memoir of
Victoria’s life as it is a bio of Vincent’s), one wishes the author hadn’t
been quite so needful (and used a bio of her father as the vehicle) to paint Browne in
such a bad light. The uplifting, joyful and celebratory narrative of Vincent’s
life comes to an abrupt halt when the author turns her attention to detailing her
stepmother’s perceived faults. But, quibbles aside, one cannot deny that Vincent
Price, A Daughter's Biography is one of the must-have biographies of 1999. No
fan of Vincent Price, or anyone who loves to read of fascinating lives, should be without
this book. --Reviewed by Jim Nemeth
The core of the action of the story centers
on the efforts of P-Man, along with Tina and his friends, to host a horror/cult movie
marathon at the mall’s theaters and their plans to entice TV horror host, Count Gore
DeVol to be their special guest. 
October Dreams carries over twenty fiction pieces (new versus
reprint being about half and half), by many of the heaviest hitters in the field: Douglas
Clegg, Poppy Z. Brite, Charles L. Grant, Peter Straub, Dean Koontz, Ramsey Campbell, Ray
Bradbury, the late Richard Laymon and many, many others. Many of the authors also
contribute short reflection pieces, detailing their favorite Halloween memories. Lastly,
several essays explore such aspects of the holiday as its history, Halloween in
literature, and a detailed look at "Halloween"-related movies.
Genre interviewer extraordinaire, Tom
Weaver, is back with his first book since the celebrated John Carradine: The Films.
I Was A Monster Movie Maker collects 22 interviews with various genre
personalities, the majority of whom may not immediately ring bells with even the most
knowledgeable of genre fans. All of these interviews have appeared in abridged versions in
various magazines; here they are printed in their entirety.
Treats include: a dead-on assessment of the current, sad
state of the Saturn Awards (with disagreement with the author in only one minor respect:
he believes them to be of more importance and influence than does this reviewer); an
interview with Jonathan "Barnabas Collins" Frid, from 1986--previously published
in an abridged version, here in its entirety; an essay which explores the use of actors as
villains in horror films (made all the more delightful to this reviewer for the
acknowledgement of Edward Lionheart of Theater Of Blood as one of the premiere
examples); a comparison/contrast of the TV series The Night Stalker and The
X-Files, and the inspiration of the former on the latter; an essay which tries to
define that ever-elusive genre called "horror"; and the previously-mentioned
screenplay.
For this reviewer, it was
10:30pm on either Friday or Saturday night. All my "friends" were there:
Dracula, Frankenstein and his monster, the Wolfman, the Mummy, and many, many, more. The
weekend couldn’t come fast enough for me, and the TV book was the first section I
went for as soon as the Sunday paper arrived, so as to see what the coming week’s
feature (and creature!) would be. 
the characters may change, the basic storyline is one
that I’ve read hundreds of times before. That in itself would be acceptable, if not
compounded by the fact that I usually also will have gotten absolutely nothing out of the
story by its conclusion: no emotion, no involvement with any of the characters, not even
the consolation of knowing that while nothing new may have been brought to the table, at
least I’d had the pleasure of reading a gripping, page-turning story.
The result is a mixed bag. On
the plus side, the personal anecdotes are interesting and fun; a handful of photos showing
early Twentieth century Halloween-themed postcards are delightful; and one chapter,
entitled "The Devil on Castro Street," which details the gay
community’s association with the holiday (among other topics) is essential reading. 
Among the many treats to be found:
Richard Gordon relates how he got Bela Lugosi into the film Mother Riley Meets The
Vampire; John D.F. Black discusses his writing the screenplay for The Unearthly
and tells a hilarious (and infamous) story involving John Carradine and John Barrymore;
John Alvin talks of working with Peter Lorre in The Beast With Five Fingers,
and relates an ironic and sad anecdote involving Christopher Reeve; Anthony Cardoza,
producer of The Beast Of Yucca Flats, discusses not only the movie, but much
about the late Tor Johnson; David Hedison talks at length about The Fly and The
Lost World, and has surprisingly little to say about Vincent Price (but there’s
a reason!); and much more.
While any artistic form should rightfully
be measured first by its greatest achievements, justifying the critical and fan-fawning
over the technological, narrative, and emotional artistry of such films as The Cabinet
Of Dr. Callegari, Frankenstein (1931), the Val Lewton/Jacques Tourner thrillers, Psycho,
and The Exorcist (too not even skin the surface), at least some attention should be
directed to those pictures that tried harder with less. Sleaze Creatures: An
Illustrated Guide to Hollywood Horror Movies 1956-1959 does precisely this, examining
in an informed, frank style those maligned, mistreated, unjustly ignored creature-features
of the last four years of the fearful Fifties. An exploitative golden-age of rubber
monsters, big breasts, souped-up automobiles, fall-out drills, and more schlock cinematic
shenanigans than you could shake a She Creature at, the later years of the fifties saw
more monsters rise more from the sea courtesy of Atomic energy than from the moldy
confines of Mediaeval coffins. Mutants, Giant Crabs with a million eyes, Killer Shrews,
and Terrors From The Year 5000 were in bigger demand (and less expensive for
maverick do-it-yourself film-makers to craft) than the traditional, often
folklore-inspired supernatural creatures of younger years, and when such beasties did
occasionally leap on the scene, their faces were as riddled with acne and teen angst as
bloodlust. Sleaze Creatures, a commendable effort by Fantasma Books, captures not
only the feel, look, and texture of such high-schlock films as I Was A Teenage Werewolf
and It Conquered The World, but, in addition, explores the surrounding
environmental, political, and social context through which the wonderfully atmospheric if
far from flawless AIP, Republic, and Allied Artists movies were made. 
To my mind, there is no greater Monster Kid
than Bob Burns. Burns has lived (and continues to!) the life that every Monster Kid dreams
of. He has met some of the giants in the field; become friends with many other
lesser-known, but equally interesting personalities; participated in the making of some of
the classic films of the genre; appeared on television as part of Shock Theater;
has accumulated an untold number of props and other memorabilia over his more than 50-year
association with monster and science fiction films; and produced some of the most
talked-about, elaborate, and awe-inspiring Halloween "haunted attraction"
spectacles of all time.
We learn of such disparate topics as: his first initial directing
efforts as a child; being inspired by German expressionism; the inspiration drawn from
Howard Hawks movies and how many of Carpenter’s films are simply westerns in
disguise; his early obsession and present-day compulsion to make films; and even trying to
write a movie for Barbara Streisand (sort of!); 
Of the wealth of information provided,
there are many highlights: we learn of Whale’s voluntary enlistment for service
during WWI, and the surprising details of his capture – surprising in that his
capture was very likely the best thing that could have happened to him in terms of paving
the way for his eventual career as a director; the details of his early years in the
theater, including his start and flair for set design, which would serve him well later as
a director of film; the revelations (unknown to this reviewer anyway) that Whale also
acted and painted; a thorough history of Whale’s association with Journey’s
End – the play and film whose success would springboard his career; mentions and
stories of various celebrities: Lawrence Olivier, Ernest Thesiger, Elsa Lanchester
(including her exploits as a nude model!!), Charles Laughton, Boris Karloff, and others;
detailed histories of every Whale film; the extremely quick and sad decline of
Whale’s career; his association with the Laemmles of Universal Studios; among many
other interesting revelations.