Woman on the Run (1950)
Starring: Ann Sheridan, Dennis O'Keefe, Robert Keith and Ross Elliot
Director: Norman Foster
Rating: Eight of Ten Stars
When artist Frank Johnson (Elliot) witnesses a gangland slaying and is subsequently target by the killer, he panics and goes on the run. When the police detective (Keith) in charge of the case contacts his wife, Eleanor (Sheridan) he finds an imbittered woman who is strangely uninterested in helping to locate him. But, once the police are gone, Elanor sets about tracking down her husband herself, first alone, then with the help of scoop-seeking reporter Danny Leggett. But, as Elanor draws closer to finding Frank, she unknowing leads the killer to him as well... a killer who is desperate to eliminate anyone who might identify him.
"Woman on the Run" is a well-scripted, perfectly paced film-noir style crime drama. The dialogue is particularly well-crafted, as is Elanor's gradual transformation from a surly film-noir dame to a wife who discovers that she and her husband still have a marriage worth saving. The way the film reveals the identity of the killer--who is much closer throughout the film than anyone suspects--and the casual way it demonstrates exactly how murderous and coldblooded he is, are also stellar examples of quality screen-writing and filmmaking.
With fine performances by all actors featured, an excellent script, great photography that takes full advantage of the black-and-white film medium, and a perfect music score to round out the package, "Woman on the Run" is a film that's undeserving of its obscurity... and it's a film that makes the 50-movie DVD collection "Dark Crimes " (which is where I saw it) worth the purchase price almost all by itself--which is why it's such a shame its going out of print. There are many great films in the set that will be even harder to find than they already are.
The Black Castle (1952) Starring: Richard Green, Stephen McNally, Rita Corday, Boris Karloff, Tudor Owen, John Hoyt, Michael Pate, Lon Chaney Jr, and Henry Corden Director: Nathan Juran Rating: Seven of Ten Stars
In the early 18th century, an English spy (Green) travels to Austria's Black Forest to determine the fates of two of his best friends and fellow operatives. They were last heard from as guests of an eccentric count (McNally) whom they had opposed in Africa. While trying to ferret out the count's secrets, our hero decides to rescue his innocent young wife from his clutches (Corday).
"The Black Castle" is an excellent and suspense-filled period drama that, although it's being told in flashback and you know that the hero and his love interest won't come to the dire end that they seem destined for, remains unpredictable until the very end. It's a film that builds steadily toward its final twist, a twist that few will see coming but that is nonetheless set up by everything that went before. It doesn't say anything good about modern screenwriters when, in a time where twist endings on suspense and horror films are all the rage, that a B-movie writer can do something far, far better than they come up with on their best days, in a time when they weren't common.
Aside from a well-done script, the film is further augmented by excellent sets and excellent cinematography and some fine performances by the entire cast. Of particular note is Stephen McNally, who, although he plays the ultimate Snidley Whiplash-type character who is dwells in the ultimate melodramatic gothic villian's lair--an isolated castle with secret corridors, torture chambers, burial vaults and a pit full of crocodiles, still manages to bring a little depth to the character. He injects just enough charm into this thoroughly evil character that I couldn't help but root for him ever-so-slightly in his effort to outwit the one-dimensional, more-righteous-than-righteous British agent.
Also of note are the performances by the two horror cinema great Boris Karloff. His role is small, but, like McNally he manages to bring infuse some depth into a character who might otherwise come across as just a sniveling slimeball. (Lon Chaney Jr is also seen, once again playing one of those menacing simpletons that he seemed to have been relegated to at this stage in his career... he does what he can with a fairly empty part.)
"The Black Castle" is a film that should appeal to lovers of classic movies, especially if they like their gothic romances with a side of twisted vengence. Although made in the mid-1950s, the film feels more like something from the 1930s or 1940s. It's one of the highlights of "The Boris Karloff Collection" five-movie set from Universal.
As the 1940s gave way to the 1950s, Universal Pictures had driven the monsters that had saved the studio from oblivion during the Great Depression--Dracula, Frankenstein's Monster, and the Mummy--pretty much into the ground. A series of ever-worsening sequels pretty much dispatched them with greater efficiency than any torch-weilding mob was ever able to do.
However, they had a few final shining moments in a handful of films starring comedians Bud Abbott and Lou Costello.
Abbott and Costello Meet Frankenstein (1948) Starring: Bud Abbott, Lou Costello, Lon Chaney Jr., Lenore Aubert, and Bela Lugosi Director: Charles Barton Rating: Eight of Ten Stars
The reluctant Wolfman, Larry Talbot (Chaney) learns that Dracula (Lugosi) intends to revive Frankenstein's Monster and use it as his personal super-soldier. He pursues the evil vampire lord to the United States where he finds his only allies to be Wilbur and Chick (Costello and Abbott), a couple of less-than-bright shipping clerks. Unfortunately, Dracula as an ally of his own--mad scientist femme fatale Dr. Sandra Mornay (Aubert), and she has Wilbur wrapped around her little finger. Little does Wilbur know that his girlfriend doesn't love him for his mind but rather his brain... she intends to do Dracula's bidding and transplant into the rejuvinated monster!
"Abott and Costello Meet Frankenstein" is a wild screwball comedy with the two master comedians doing their usual routines within the framework of a solid script and a story that's actually pretty logical in its own crazy way. I think it's the first fusion of comedy and monsters, and one reason it works so well is that the monsters are played straight. Even when they are involved in funny schtick (Dracula and the Wolf Man are both part of several routines), they remain as they were featured in the serious monster movies they were in.
Too often, I hear this film written off as Universal's last and crassest attempt to wring some dollars out of their tired monster franchise. While that may be all the studio bosses had in mind, the creators involved with "Abbott and Costello Meet Frankenstein" managed to make a great movie that is still worth watching today. It's even superior to many of Universal's "straight" movies with Dracula, Frankenstein's Monster, and the Wolf Man (or, for that matter, countless recent so-called horror films). Much of its strength grows from the fact that has a plot that with some tweaking could be a straight horror movie.
I recommend this underappreciated film to any lover of the classic monster films, as well as lovers of slapstick comedy.
Abbott and Costello Meet the Invisible Man (1951) Starring: Bud Abbott and Lou Costello Director: Charles Lamont Rating: Five of Ten Stars
When Bud and Lou, a pair of rookie detectives (Abbott and Costello), are hired to helping a boxer who has been falsely accused of murdering his coach, they soon find their client is harder to spot than clues: The desperate man drinks an experimental invisibility potion to avoid being captured by the police, and he then proceeds to help them set up a frame to unmask the real killers.
This film has some great comedy routines in it, with the best of them involving boxing--such as when Costello is supposedly boxing a prize fighter but it's the invisible man who is landing the punches. Unfortunately, the material that gets us from one gag to the next is rather dull. This is the first Abbott and Costello film I've watched where I found myself reaching for other things to do while it was running. (I must add, though, that the special effects were well done, particularly the one where the invisible man is driving a car.)
"Abbott and Costello Meet Invisible Man" isn't exactly a bad movie, but I was expecting more from it. I think those who have seen other A&C horror spoofs will, too. I recommend saving this one until you've seen the rest, or maybe just skipping it all together.
Abbott and Costello Meet the Mummy (1955) Starring: Bud Abbott, Lou Costello and Marie Windsor Director: Charles Lamont Rating: Six of Ten Stars
Abbott and Costello (played by Abbott and Costello) are a pair of down-on-their luck adventurer who try to get a job escorting an an archeological shipment as their ticket back to the US from Cairo. However, before they secure the job, the archelologist is murdered, the most important part of his find goes missing--the mummy Klaris--and Costello ends up with an ancient medallion that is the key to unlocking a lost treasure that rabid cultists are sworn to protect and dangerous femme fetale (Windsor) will do anythng to possess. Soon, they are targets and dupes of every shady character in Cairo, along with being stalked by the mummy.
I don't think "Abbott and Costello Meet the Mummy" deserves quite the level of scorn that many reviewers seem to heap on it. While Abbott and Costello aren't at their best in it, it is a very amusing spoof of the string of mummy movies from Universal--and almost every mummy film that followed as they set the template--and it's got plenty of hilarious moments. (The "pick-pocket routine" where Costello visits the villainess in her den, the chase scene in the secret hideout of the mummy cultists, and the various bits with the multiple mummies at the movies climax are all comedic highpoints that should evoke chuckles from even the most jaded viewers.)
The film is far from perfect, however. I already mentioned that Abbott and Costello aren't exactly at their best in this film--which was, in fact, one of the last times they worked together--and an attempt to reinvent the classic "who's on first" routine with some digging impliments is about as uninspired as I think the pair's work ever got. Finally, the mummy costume in the film is about the worst that I've ever seen--only the ones featured in Hammer's "The Mummy's Shroud" and Seduction Cinema's "Mummy Raider" are worse.
I recommend "Abbott and Costello Meet the Mummy" to lovers of the classic monster movies who have a sense of humor about them, as well as fans of classic comedy. There are better examples of this type of film out there, but this one still has enough good bits to make it worth seeing. (Heck, it's more entertaining than the serious mummy movies it spoofs.)
Creature from the Black Lagoon (1954)
Starring: Richard Carlson, Julie Adams, Antonio Moreno and Richard Denning
Director: Jack Arnold
Rating: Five of Ten Stars
A group of scientist travel into the Amazon jungle to retrieve an unusual fossil, but instead find themselves battling a very-much-alive amphibious humanoid.
I don't think I've ever seen a movie where I've been so quickly on the side of the monster, or rooted so strongly for it to kill off the cast of "heroes" as I did when I saw "Creature from the Black Lagoon".
I also don't think I've seen a movie that has irritated me quite so much as this one did.
If the morons we're supposed to be rooting for had behaved like scienstists instead of 1920s big game hunters, they might have learned something about the creature, like, oh, I don't know, that it was intelligent. From beginning to end, the assholes on the good riverboat Rita caused their own troubles, and they are completely unsympathetic as a result. The only member of the expedition with a brain was Richard Carlson's character, and even he seemed awfully slow on the uptake. (When the monster starts laying traps and blocking the river out of the lagoon, it's time to stop treating it like it's a shark with arms and legs, doofus.)
Despite my annoyance with every single character in the film, except the monster, whose initial mistake was one of curiosity and who later is justifiably pissed off at these interlopers who keep shooting sharp sticks and shining blinding lights at him (her?), I was very impressed with the astonishing quality of the underwater action photography and the amazing design of the creature. (And I'm even more amazed at the way the outfit allowed the stuntman wearing it to swim and seem more convincingly real than just about any other "guy in a rubber suit" monsters that have graced the silver screen.)
Unfortunately, the film has a padded feel to it, as there are several drawn-out pointless conversations, and a number of scenes that go on well past the point they should have ended. The film also suffers from a general lack of suspense, although perhaps if I hadn't been wishing for the monster to kill those idiots, maybe I would have felt a little more tension than I did.
Still, the look of the crreature is fantastic, and the underwater sequences are amazingly well done. In fact, every shot of the creature swimming or fighting is a joy to watch, and the film is at its very best during a long sequence where the blonde, looks-great-in-a-bathing-suit marine biologist goes for a swim in the lagoon, and the creature is pacing her under the water, watching her with no menace but obvious curiosity.
The flaws and the strong parts of the film almost balance each other out, but the end result is a movie that's not quite as good as I expected. Maybe I had my expectations set to high, maybe it's a film that doesn't mesh well with modern attitudes--or maybe it just doesn't mesh well with my attitude.
This movie so annoys me that the one Legacy Collection I'm taking a pass on is the "Creature from the Black Lagoon Legacy Collection." I can't imagine the follow-on films are any less annoying than this one.
