Ben

Dwayne Jones as Ben in Night of the Living Dead.

Abyss

Sketchbook Cryptid

Your basic failed experiment or "Nosferooster".

Hunting Girl

Rod Serling's Night Gallery, Part 7

The last handful of Night Gallery's Season 2 episodes boast some of the show's most atmospheric, and chilling, segments, the embarrassing "comedy blackouts" having at long last seemingly fallen out of favor.

In Deliveries in the Rear (2.19.1), Cornell Wilde (Gargoyles) plays an ambitious anatomist at a 19th century medical school who endeavors to have the freshest subjects for his anatomy classes, without regard for the means used to acquire them (namely, via a pair of murderous goons). This segment is well done and generally recommended but, obviously inspired by the true life horrors of the Burke and Hare murders (with all names changed), it rates low among the various incarnations of that story, particularly 1957's The Flesh and the Fiends.

Wilde's Dr. Fletcher is rather open about the probable methods employed to secure his morbid materials and seems keen to provoke the moral indignation of his peers, such that there's little pity for him when he is finally undone by his hippocratic hypocrisy. The story is seen mostly through his limited point of view and exists only to set up the climactic twist. That expediency may work for such a condensed telling of the Burke and Hare saga, but that means a lot of what makes the source material so interesting--medical ethics, class issues, angry mobs and the substance of Burke and Hare themselves--goes unexploited. (6.5/10)

I'll Never Leave You--Ever (2.20.1) is the fog-enshrouded fable of an unfaithful woman (the late lovely Lois Nettleson, who starred in one of my favorite Twilight Zones--The Midnight Sun) whose farmer husband (Royal Dano of Killer Klowns from Outer Space) is slowly wasting away from some icky mystery illness. Repelled by her husbands deathly touch, the desperate housewife consults the local bruja for a way swiftly snuff her sicko husband and free her to be with her lothario boyfriend John Saxon (A Nightmare on Elm Street). The witch carves the wife a wooden voodoo doll in the likeness of her harrowing husband for her to take home and dispose of at will. Unfortunately, the accursed totem's destruction turns out to be other than the tidy solution that she had hoped for.

This is a great, simple and atmospheric segment, reminiscent of E.C. If it has a flaw for me it's that it's rather too easy to sympathize with the supposed femme fatale and her unenviable situation, living with a croaking corpse on a barren, eternally-benighted farm. Aside from the great cast forementioned, I was delighted to see that the horrible old hag was played by Peggy Webber (still alive!) who herself did a turn as a hapless housewife in 1958's beloved MST3K-riffed schlock film The Screaming Skull. (7/10)

The Lovecraft-tinged There Aren't Any More McBanes (2.20.2) plays like a Night Stalker episode without Carl Kolchack to come to the rescue. In it, professional student of witchcraft and all-around slacker Joel Grey turns to the recently-redicovered magical tome of an infamous family warlock to prevent his rich uncle from cutting off his inheritance. Reciting the incantations from this necronomicon, he unleashes a dark force beyond his control and discovers why the book had been lost in the first place.

There's nothing too unexpected in this segment but it satisfies my fetish for funky 70's television that's set in the 70's. Even the special effects are kind of psychedelic. All I can add is that Joel Grey is not a handsome man. I'm just saying. (7/10)

The Monster

We Country Children

My mother died nine years ago in July. I recently cleared her room out and got to looking at some of the old pictures from her side of the family. They were sufficiently intriguing for me to start a new tumblr to exhibit the best of them. I chose a title for the blog from this first image, a postcard of the children (or daughter and son-in-law—I’m not exactly sure since I don’t know anything about them) of D.S Hoffman, General Physician of Lake City, Colorado at the turn of the century.

We Country Children

Virginia Merrye (redux)

Jill Banner as Virginia Merrye in Spider Baby.

The Black Cabin

Halloween Picks: Rod Serling's Night Gallery, Part 6

As I breeze through the last of my Night Gallery Halloween picks I should stress that Night Gallery isn't for everyone. Probably a third of them I won't bother to watch ever again. Like most all anthology shows, I find, the quality of production and tenor of story can vary significantly from episode to episode (or in Night Gallery's case, from segment to segment). Issues of time and budget cause many bits to fall short of the sources they are adapted from. Forty years of overlying artistic strata have rendered most of Night Gallery's scares into schlock and it's technically and stylistically quite dated. More is the charm, for some, but not for those strictly accustomed to the gore-fueled excesses of the intervening decades.

Mostly it's up to people who are interested in the place of shows like Night Gallery in horror history to carry it's cult forward. And for those, like me, who have a true nostalgia for the show--based on faded memories--and now have the luxury of being able to reevaluate them in their pristine, commercial-free digital form.

Still, there are several segments that are indisputably quite atmospheric, and others that are fun or noteworthy because of who is cast in them or because the effects were more striking than the norm. The ones that still live in my memory tell me something about my fascination with horror. Or that was my theory. Really, aside from the immortal Night Gallery intro, it was chiefly the (Hammer, and the like) horror movies I saw on Shock Theater (as well as my integral love of Halloween) that seems to have influenced my awe of the horror genre. But I can believe that some of these segments should have scared the devil out of me forty years ago, except that I apparently missed them or was too scared to watch them in the first place.

There's nothing to inspire much terror in episode 2.9, though. The first story is a comedic offing called House--with Ghost (2.9.1), that is only creepy if you consider the fact that the lurid secret life of it's star, Bob Crane (Hogan's Heroes), would come to light when he was bludgeoned to death seven years later. That, and the fact that his wife in House--with Ghost was Joanne Worley, who made a career typed as an uncommonly unappealing woman, a la Phyllis Diller and Ruth Buzzi. Crane's character plans to bump off his wealthy spouse but dithers on the treacherous act until a ghost in their ritzy London flat (Bernard Fox) intervenes in a most unexpected way. (3.5/10)

In another silly tale, Hells Bells (2.9.4), John Astin (Gomez on the original The Addams Family) plays a reckless hippie who, after a fatal car-accident, finds himself plunging into hell while anticipating the infernally groovy sights that await him--only to find that he will there be punished with eternal boredom. Cute, but unfortunately a story about how boring hell is is destined to quickly become...boring. (4.5/10)

2.11.1, Pickman's Model, is based on a short H.P. Lovecraft story of the same name. In this adaptation, Pickman is the name of an ill-reputed painting instructor at an exclusive school who attracts the admiration of a lovely female student. When the wealthy female suitor boldly seeks out the source of his ghastly inspiration she finds more than she bargained for. One curious aspect of this version of the story is that it surrounds a female protagonist, wheras Lovecraft rarely had sympathetic female characters in his stories. The original story was mostly eerie speculations surrounding an artist's paintings, which are populated with loathsome humanoid creatures too uncanny to come from a human imagination. The inclusion of a romantic interest adds dimension to the story and broadens it's appeal. And the monstrous conclusion makes this one of the most memorable episodes of Night Gallery. Regrettably, I don't seem to remember actually seeing it before. (7/10)

 Segment 2.12.1, Cool Air, is also a Lovecraft story and also introduces a love interest to flesh it out a little--though, in my view, to less successful ends. Cool Air concerns a scientist who seeks the secret of eternal life, yet depends on a forbiddingly frigid environment to maintain his own. (5/10)

In Camera Obscura, Rene Ouberjonois plays a cold-hearted debt-collector who is subjected to the gnarly nether-worldly torments of the diabolical optical device by it's designer, mad-scientist Ross Martin (The Wild Wild West). The rather perfunctory set-up is, at least, redeemed by a suitably atmospheric climax. (6.5/10)

Interestingly, one of the best-remembered (for me) episodes, The Painted Mirror (2.13.2), is a little lacking in horror, although it does involve Zsa Zsa Gabor chasing a her toy dog into a mirror-universe, where she is presumably gobbled up by prehistoric stop-motion creatures. Pretty cool as a kid. Not so cool now, though. Zsa Zsa is scarier than the dinosaurs. (5.5/10)

In Episode 15 we come to another segment I remember very well--and which fans of the show seem to remember to a remarkable degree--Green Fingers. This slightly warped moral tale involves an eccentric old lady with a particular talent for growing things (Elsa Lanchester, most famous as the Bride of Frankenstein), who stubbornly refuses to sell her lushly gardened cottage to ruthless industrialist Mitchell Cameron. After finally bumping the old biddy off, the triumphant villain finds that vengeance from the grave is his only harvest. Hooboy this one has a loopy ending. That's probably why I remember it so well. Not as scary now as it must have been then, though. (6.5/10)

Speaking of Bob Crane, the next segment, The Funeral (2.15.2), stars his captor in Hogan's Heroes, Werner Klemperer (Colonel Klink) as a vampire who, with help of funeral director Joe Flynn (McCale's Navy), arranges to have a late funeral, with all of his monster-buddies in attendance. Hilarity ensues. This is technically a "comedy blackout", but it's got enough of a fun, Groovy Goolies vibe to be mildly diverting. (5.5/10)

Jeanette Nolan--Tribute to a Witch

Veteran actress Jeanette Nolan (1911-1998) had a long and distinguished career, starting with the role of Lady Macbeth in Orson Welles supreme adaptation of Macbeth in 1948. Of most interest to horror fans, perhaps, is her role as the voice of Norman Bates' Mother in Psycho (why, I wouldn't even hurt a fly). But the woman seemed to have a knack for playing witches and it's just a pity she didn't do it more often. Here she is as (l to r) the vindictive villain Granny Herrod in a great episode of Boris Karloff's Thriller called Parasite Mansion, as the titular character of La Strega (also Thriller) and as Aunt Ada in the Night Gallery episode titled Since Aunt Ada Came to Stay. Props to a fabulous, unsung screen witch!

Halloween Picks: Rod Serling's Night Gallery, Part 5

In all fairness, there isn't much of anything about the 4th episode of Night Gallery's superior Second Season, Fear of Spiders/Junior/Marmalade Wine/The Academy. for me to recommend it for Halloween viewing, so I'll be brief.

Fear of Spiders involves an aging gourmet food critic (Patrick O'Neal) who finds himself plagued by phantom spiders, as well as an old, one-night stand. (2.5/10)  The very short Junior wastes Wally Cox (Mister Peepers!) as a weary father who has to get out of bed to bring his familiar-looking offspring a glass of water. Completely worthless. (0/10)  Marmalade Wine has Robert Morse (The Loved One) as a lost wanderer who finds shelter in a castle and boasts to his surgeon host--a little too persuasively--that he has psychic powers. The most remarkable thing about this segment is the strangely ornate minimalist set. (4/10) The Academy presents crooner Pat Boone as a wealthy and ruthless businessman who visits an exclusive military school to determine if it's the right one for his troublesome progeny. Not scary, just kind of sad. (2.5/10)

The next episode, The Phantom Farmhouse/Silent Snow, Secret Snow is another story. The famous Silent Snow, Secret Snow, I can say without reservation, is not a Halloween segment. It is recommended, though, for the story and the narration by Orson Welles. It describes the private thoughts of a boy as he progressively shuts out the reality around him in favor of an imagined world of freshly fallen snow. (8.5/10)

 In The Phantom Farmhouse, the investigation of a mental patient's grisly murder at an exclusive sanitarium leads a psychiatrist (David McCallum of The Man from UNCLE) to a mysterious farmhouse that seems to belong to another time. David Carradine plays a patient that knows the secret of the farmhouse and it's strange denizens. Regrettably, many of the stylistic choices by director Gene R. Kearney ground the segment visually in the 70's, detracting somewhat from the Gothic atmosphere intended by the classic source. Still, it delivers a suitable climax. (7/10)

Next, in The Question of Fear (2.6.1), Leslie Nielsen (Airplane!) plays a pompous adventurer who accepts an adversary's wager to spend the night in an extremely haunted house, apparently inhabited by a Nazi ghost! This segment is a better than average spend-the-night-in-a-haunted-house story up until a little after the midpoint when it begins to lurch toward a screamingly idiotic, wasted, non-supernatural twist-ending. Nazis are the protagonists in this one, it turns out. (4/10)

Interestingly, the next segment of the same episode, The Devil is not Mocked (2.6.2), also involves Nazis, though in this case they aren't meant to be the *ahem* good guys.  Let me just say that this is a good segment for Halloween, that features Francis Lederer as a character quite familiar to lovers of the holiday--and not spoil what is a very simple plot. (7/10)

Skipping ahead a bit, Brenda (2.7.2), involves an unruly young girl who befriends a bizarre, hulking, rather mossy monster while on vacation on a tropical island with her parents. I initially thought the squeaky-voiced actress who played the weird little girl several years younger than her true age (Laurie Prange) was going to grate on my nerves, but she really ended up selling the role well and the story is oddly touching. (6.5/10)

Skipping ahead, again, A Matter of Semantics (2.8.2) is another pointless "comedy blackout" with a wasted Cesar Romero as Dracula, trying to make a withdrawal from a blood bank. (3/10)

John Carradine makes a welcome appearance in Big Surprise (2.8.3) as a creepy old codger who promises some local boys that a big surprise awaits them if they have to courage to excavate a box buried under a certain local oak tree. (7/10)

In Professor Peabody's Last Lecture (2.8.4), Carl Reiner plays an intrepid anthropology teacher who dares to read from the dreaded Necronomicon for his aghast class. It goes on a bit long toward a predictable conclusion, but it's nice to see some Lovecraft appreciation in the mix. (6.5/10)

Halloween Picks: Rod Serling's Night Gallery, Part 4

 While it may not be the absolute summit of Night Gallery, the opening segment of Episode 3 of Season 2 certainly satisfies the premise of the show. It was really a pleasure to be re-introduced to it after all these years. It's one of those episodes I don't have a solid recollection of, yet is tantalizingly familiar. In terms of good old-fashioned horror, it's hard to beat Since Aunt Ada Came to Stay.

In this first of three segments, James Farentino plays a professor of the scientific method who is forced to grapple with implications of the supernatural when his wife's weird old Aunt Ada comes to their happy home, presumably to live out her final years. The teacher quickly becomes wary of the old biddy, who seems to have a penchant for vanishing into thin air, killing off vegetation and pushing her special brand of tea on the Mrs, to "calm her nerves". After bringing a sample of the suspect tea to the university for chemical analysis, he is told that it's a seaweed and is referred to a colleague, the Professor of Metaphysics (Jonathan Harris, best known as Dr. Smith on Lost in Space) for information about the alleged medicinal uses of the plant. The eccentric old metaphysician informs him that the substance is known as "witches' weed" and is used to prepare a chosen victim to be possessed by the witch's spirit. And the coming midnight of the full moon, as it turns out, is the optimum time for the ritual possession to take place. Somewhere in here he finds out that Aunt Ada is an imposter, yadda, yadda, yadda, some other spooky stuff happens and let me just conclude by saying that green carnations figure prominently into the plot. (8/10)

Inspired directing from Jerrold Freedman keeps things interesting on the visual front, and best of all veteran actress Jeanette Nolan plays the role she seems ideally suited for: the old witch posing as Aunt Ada. Nolan was so good at playing witches she played them in two great episodes of Boris Karloff's Thriller, Parasite Mansion ( which also stars my good friend Beverly Washburn of Spider Baby) and, a title I'll be looking at later, La Strega. As to the strangely abrupt way in which this episode ends, if anyone knows what the story behind that is, I'd be interested in finding out. It seems like this segment could have been extended if only they'd thought better of including the next one, the mostly worthless "comedy blackout" With Apologies to Mr. Hyde.

There seems to be the potential of something happening in this stale little misfire--it stars Batman's Adam West as Jekyll and Hyde and Executive Producer Jack Laird as his hunchback assistant, and the laboratory setpiece is pretty cool--but it's all for a Laugh-In- quality pun that only wastes a couple of minutes, regardless. (3/10)

Speaking of Laugh-In, the final segment, The Flip Side of Satan stars a regular face on the 1970's variety show, Arte Johnson, as a disreputable disc-jockey who finds his misdeeds rewarded with a graveyard gig at a radio station of the damned. A classic story, this segment isn't bad at all, allowing the actor to exhibit his talents in an exclusively one-man show. On the down side, the shoe-string budget of the short is all too apparent in the rather unspectacular climax. (6.5/10)