Cinema Sunday: Diary of a Madman (1963)

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Title: Diary of a Madman

Distributor: United Artists

Writer: Robert E. Kent

Director: Reginald Le Borg

Producers: Robert E. Kent, Edward Small

Starring: Vincent Price, Nancy Kovack, Lewis Martin, Chris Warfield, Ian Wolfe

Released: March 1963

MPAA: Approved

 

It’s no secret I think Vincent Price is one of the bet film stars of all time. Not just in the horror genre, but all of them. You can debate if you’d like, but I promise you that the people who will debate most wholeheartedly are the ones that haven’t seen many (if any) of his films. He’s definitely one the top horror icons, and along with Cushing, Lee, Lugosi, Karloff, & Chaney, his place is forever cemented in the industry.

This film has Price, but no other really bankable stars (Ian Wolfe was established, but not a household name), so when you watch this one, you really get a sense that he brought everyone else up to his lofty standards for acting. The film is another gem from Price, and everyone that’s a fan needs to see it. Alright, let us journey into the past…

 

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The film begins with a funeral for a man named Simon Cordier (Vincent Price). His family and friends stand by and watch the priest finish the service, and one woman remarks that she’s glad he’s dead. The same small group of people meet at an art gallery, and read the last wishes of Simon Cordier. The diary tells them that Cordier believed he was possessed by an evil spirit, called “horla,” and it forced him and others to commit unspeakable acts. We then flashback to when Cordier first encountered the horla…

 

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We learn that Cordier was a magistrate, and that his first saw evidence of this abomination, it was while visiting a prisoner (image above) that was only days away from execution. The prisoner pleads with Cordier, telling him that he didn’t really want to murder people, but that an evil spirit forced him to do it. At first, Cordier doesn’t believe him, but then the man’s eyes begin to glow with a green hue, and the man savagely attacks Cordier. They struggle for a moment, but then Cordier manages to push him away. The guards come running in, and discover that the prisoner died when he hit his head against the stone wall. Cordier is in shock over what he’s seen and done.

 

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The following day, Cordier is upstairs in his home, and he sees a picture of a woman and a boy (apparently his wife and son that are deceased). He freaks out, and calls his butler, Pierre (Ian Wolfe), about the picture. Pierre explains that he doesn’t know how the picture came to be there (it had previously been stored away). Pierre then calls to Louise (Mary Adams), the cook, and questions her about the matter. In the next moment, Cordier sees some writing on a dusty shelf in the same room that reads…”hatred is evil.” These are the same words that the prisoner spoke before he attempted to kill Cordier. Cordier thinks he sleep walked, and did these things.

 

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The following day, Cordier goes to his office, and finds the case file for the recently deceased prisoner. He doesn’t remember leaving it there, and can’t figure out why it’s there. He then hears a voice call out to him, warning him that because he killed the prisoner, he will now be the host for this specter. After excusing himself from the court that day, he begins to write in his diary about the strange goings-on. Once again, the voice calls out to him, and then possesses him. It tells him that he must kill his pet bird, and he does. The spirit then leaves, and Cordier sees what he’s done.

 

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In the next scene, Cordier is visiting a psychiatrist about his troubles. The doctor believes that the strain of work, and the death’s of his family have driven him to this problem. He tells Cordier to return to his hobby of sculpting, take a vacation, and to immerse himself in art. He does just that, and walks around a neighborhood, looking at art. He’s approached by a beautiful woman, Odette Mallotte DuClasse (Nancy Kovack – image above), who asks him to buy the portrait of her. They strike up some conversation and he tells her that he’s a sculptor. One thing leads to another, and she agrees to pose for him later that night. Odette heads inside to see her husband, Paul DuClasse (Chris Warfield), the artist. She tells him that she’s going to pose for another artist, and her husband gets jealous. She tells him that her lifestyle needs more income, so she’s taking the job, to the dismay of her husband.

 

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That night, Odette travels to the home of Cordier to pose for him, and after a quick conversation, the two head upstairs to the studio. Pierre and Louise are overjoyed that Cordier is happy again. In the studio, Odette asks if she needs to “disrobe” but Cordier tells her it’s not a nude. She seems slightly disappointed for a split second, and then tells him that nothing should distract from the face, and he agrees. Cordier compliments her on her beauty, and she smiles.

We then get some more from the diary, as Cordier writes down how happy he is, with his work, sculpting, and that his nightmares are gone. Days pass, and things seem fine, and he finishes the sculpture. There’s some mild flirtation between the two, and then she leaves. Cordier is left alone, but then suddenly, he hears the voice of the specter once again. The two have a conversation about good and evil. The spirit implies that Cordier drove his wife to commit suicide, and that he basically is a murderer. The spirit tells him that he wants his soul, and he knows that Odette is truly evil. Cordier wont believe it, and as he cries out, the spirit leaves the room. Cordier contemplates the reason for this spirit’s existence, but as he does, the spirit shows up, and tortures him some more. The spirit tells him that Odette is evil, and that he’ll force him to punish her if he’ll keep denying the fact.

 

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After a day or so, we see that indeed Cordier is courting Odette, and that has plans for her, or the spirit does. Cordier gives her a brooch and tells her that it belonged to his wife. We then cut to a scene where Odette’s husband, Paul, is telling his woes to another woman, Jean D’Arville (Elaine Devry). He tells the woman that Odette has moved out and into her own apartment. They both surmise that she is stepping out with Cordier because he has money, and power. Paul decides he’s going to go to Cordier’s home, and confront him about the matter. As the two meet, Paul is enraged that Cordier wont stop pursuing his wife, but Cordier doesn’t care. Paul then threatens to make the affair public, and storms out. The spirit tells Cordier that Paul must be killed, but he refuses.

 

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Cordier tells Odette that they’re going to run away, and marry overseas. He thinks he can avoid the spirit’s influence, but the spirit tells him otherwise. Cordier pulls out a gun, and tries to kill the spirit, but to no avail. The spirit then possesses Cordier, and orders him to murder Odette. Paul shows up at the apartment, and gets rough with Odette but she convinces him to leave. Moments later, Cordier shows up and brutally murders Odette. He returns home, and wakes up from the trance, aware of nothing. Paul gets the blame, and the spirit is just getting started!

Will Cordier be able to stop the spirit, or will he also be a victim of its insanity!

 

OK, here are my thoughts:

This film is a must-see for any fans of Price, horror, or just classic cinema. Price was excellent in this film, and really commanded every scene. Nancy Kovack was brilliantly evil in this one, and really matched up well with him. Their on-screen chemistry was something special. The other cast members were solid as well, especially the butler, played by Ian Wolfe.

The most remarkable thing about this film (other than Price), was the outstanding sets. Whether it was the home of Cordier (Price), where most of the film seemed to take place, his office, the street, or even the other houses/apartments in the film, the sets were great (Victor A. Gangelin). The costumes, music, and makeup were all spot on, and really delivered.

Definitely look this one up, you wont be disappointed. After all, it is Vincent Price!

 

Click here for the trailer!

 

Fantastic Four #219, 1980 “Leviathans”

The reason I chose this issue, aside from it being the Fantastic Four, is the story, and the creative team. The latter, I’ll get to in a minute, but first, let’s get acquainted with the story. In it, we see Namor, as his underwater kingdom is attacked by some foreign army of underwater creatures. On the surface, Reed is growing more and more apart from the rest of the team. Snapping at them for something miniscule, he storms off in a huff. Can the team unite and help Namor fight off a multitude of attackers, one of which has attained a relic from Atlantis that can make him unbeatable?

Now, on to the creative team. At this point, the book was in a slight bit of flux, in that the Kirby/Lee legendary run was well over, and a couple of the other, lesser known (but still kicked butt!) runs were also over (Wein/Perez, Conway/Buckler, etc.). The other big run, that of John Byrne had yet to begin, leaving room for a strange but incredible great story like this one to be presented by Doug Moench (writer), Bill Sienkiewicz (pencils), Joe Sinnott (inks), Jim Novak (letters), colors by George Roussos, and edited by Jim Salicrup! Enjoy this great issue by this awesome team of creators!

 

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Pin-up by 'Joltin'  Joe Sinnott

Pin-up by ‘Joltin’ Joe Sinnott

Kull the Conqueror #4, 1983 “Death Stalks a Councilor”

My love for Robert E. Howard created material is something that if most don’t already know about, you soon will. Of course, Conan is the biggest REH character, but if you look deeper into his world, you’ll see others, like Red Sonja, Solomon Kane, and Kull! Kull is basically a Conan “type” character, but more refined as a ruler. He’s a savage warrior like Conan, but most of the stories are as Kull as a ruler, not a thief, or pirate. His trusted friend, Brule, is a warrior born but also a man of great intellect when it comes to war. Kull is a man born in Atlantis, but rules the kingdom of Valusia.

This story was scripted by perennial Bronze Age writer, Alan Zelenetz. He’s done some other great work in this category (Thor/Warriors Three), and should be applauded for his efforts. Penciling, we have the legend himself, ‘Big’ John Buscema, and we all know of his accolades in the industry. An incredible artist taken to soon from the world. Dan Green and Joe Chiodo add their abilities to the artwork (inks), and throw in letters by John Morelli, and colors by Christie Scheele, and cover by Bill Sienkiewicz (inks on the second story as well) make this issue a winner!

 

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Cinema Sunday: The Trollenberg Terror (1958)

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Title: The Trollenberg Terror (A. K. A. The Crawling Eye)

Distributor: Eros Films Ltd.

Writer: Jimmy Sangster (screenplay)

Director: Quentin Lawrence

Producers: Robert S. Baker, Monty Berman

Starring: Forrest Tucker, Laurence Payne, Jennifer Jayne (Jones), Janet Munro, Warren Mitchell

Released: October 1958 (TV series 1956)

MPAA: UR

 

I’ve heard of this film, and was fascinated by the premise, but never saw it until recently. Once I’d heard it was an inspiration for John Carpenter’s “The Fog,” I knew I had to see it ASAP! Being a huge fan of that film (and a few other of his films), it was only a matter of time until this flick would be the subject of my weekly movie review! I’ll admit I only know one actor in this one (Forrest Tucker), but he’s enough to be another reason to watch the movie. OK, no more talk, let’s get to the meat and potatoes!

 

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The film begins with three students rock climbing in the Swiss mountains. One has climbed a bit higher than the others, and they shout to him, asking what’s going on. He tells them it’s very foggy, and he can see someone coming through the fog. The two men on the lower ledge hear him scream, and then his body falls passing by them. He’s hooked on to a rope and they try to pull him up. The one man gets a look at him before the other man does, and he screams in terror, and let’s go of the rope. The other man shouts at him for letting go, but he tells him that his head was missing! Cut to the opening credits…

 

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In the following scene, we watch as two women are on a train, one of them is sleeping. Anne Pilgrim (Janet Munro – image below, left),and her sister, Sarah (Jennifer Jayne – image below, right) There is a man sitting across from them, Alan Brooks (Forrest Tucker), reading a newspaper, and he notices that these two are a bit odd. Anne wakes up, and Sarah tells her that they’re passing the mountains. As she moves toward the window, she faints, and falls right into the lap of Brooks. When she awakens, she tells her sister that even though their trip isn’t over yet, that they must get off of the train at the next stop, Trollenberg. Brooks is really stupefied, but keeps to himself.

 

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As the train stops at Trollenberg, Brooks gets off and meets another man, Klein (Frederick Schiller), owns a hotel of sorts, and Brooks invites them to stay there with the blessing of Klein. The two sisters are psychic, and have a routine they perform across Europe, and Anne uses her ability to pick the minds of the locals to find out why the townspeople are leaving. She questions Klein about this, but he’s evasive. Brooks looks on with  desperation in his eyes. They take a car ride to the hotel, where another man, Philip Truscott (Laurence Payne), is waiting there and seems to recognize the girls, but they hurry to their room to avoid a confrontation.

 

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That night, Brooks (Forrest Tucker – image above, right) is in his room unpacking when Truscott comes in and attempts to be friendly, but as soon as he leaves the room, he telephones someone, inquiring about Brooks. Brooks happens to be walking down the hallway, and hears the conversation. As he heads downstairs, he meets two climber, Brett (Andrew Faulds – image above, left), and Dewhurst (Stuart Saunders). They’re heading up the mountain for a climb, and going to stay the night in a shack on the side of the mountain tonight, then head up tomorrow. Truscott, Brooks, and Sarah, all join them for a farewell drink. They all have one, but then the conversation turns to the recent “accidents” on the mountain, and things get a bit grim. The bartender, Hans, is reluctant to talk about these matters, and about the villagers sentiments about the subject.

 

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As the two men head out for their excursion, Brooks decides to hitch a ride with them up the cable car. He climbs aboard, and heads to the observatory, where we see Professor Crevett (Warren Mitchell). He tells Brooks that the goings-on around here are eerily similar to that of events that took place three years ago in the Andes Mountains. Crevett explains to Brooks that everywhere that the ominous cloud goes, death follows, as well as high amounts of radiation. Meanwhile, back at the hotel, Anne and Sarah do their best Jedi mind trick routine (image above) to the applause of the guests. During this though, Anne begins to fall into a trance. She sees the two climbers in the hut (Dewhurst & Brett), and warns of danger. Crevett and Brooks realize that the girl must be psychic, and she is somehow able to see into the mind(s) of whatever is in the  mysterious cloud surrounding the mountains. Brooks calls the hut, and Dewhurst confirms that Brett is missing. Later, the observatory calls the hotel and tells the Professor that the cloud is no moving towards the hut. Within minutes, they call Dewhurst, and he tells them that he thinks he sees someone in the fog. Within seconds, Dewhurst is dead.

 

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The following morning, Brooks and some of the others head out to find Dewhurst and Brett. After searching for hours, one of the villagers finds some bloody clothes, and then calls out to another villager. Before he can get his bearings, we see Brett, looking like one of Romero’s living dead, and he brutally kills the man. As the other villager arrives, he tries to defend himself, but Brett overpowers him, and slays him as well. Brooks, Truscott, and their party find the hut, and it’s very cold inside. The blankets are frozen, and so on. They find Dewhurst, and he’s been decapitated. They call to the city, and get an airplane to search from above as well. The next night, Brett inexplicably shows up, and seems a bit off kilter. As he’s sitting at the bar, Anne walks in, and he attempts to kill her, but Brooks knocks him out. They lock him up, but he escapes, and then decapitates the hotel owner. Brett then attacks Anne but Brooks shoots and kills him. Brooks and Crevett inspect the body and discover that any kind of heat can make his body disintegrate.

As the cloud moves toward the village, the people make their way to the observatory for a final showdown with the creatures in the fog! Will they survive or will they meet their doom!

 

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OK, here are my thoughts:

When I heard that this film inspired John Carpenter, it immediately jumped to the top of my watch list. Having Forrest Tucker as the lead actor doesn’t hurt either. I loved his performance in The Abominable Snowman of the Himalayas (1957), and that film will be reviewed sooner than later as well. He’s really in charge in this film, and totally runs the show from the minute he’s on-screen. The supporting cast is also right there to add some flavor. Warren Mitchell portrays the Professor, and he fits the part perfectly.

The special effects were good for their time, and the “monsters” were pretty scary looking in this film. The man behind them was Les Bowie (uncredited), and he should be lauded for his efforts. The music score (Stanley Black) was very riveting at a few points, and will have you on the edge of your seat. The sets were fairly generic, but most of the time they didn’t need to be more than that anyway. The observatory scenes were the best, and seemed the most “real.” Get out and find this movie, it’s certainly worth the time!

 

Click here for the trailer!

 

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Janet Munro

 

Marvel Triple Action #42, 1978 “To Tame A Titan!”

If there’s one thing for me that rivals comic books (classic cinema and music, too, of course), its mythology. Whether its Greek, Roman, Nordic, whatever, it grabs me and pulls me into its world. I guess it’s the reason Thor and Hercules are two characters that have always been favorites of mine throughout the years. In this issue, we see Hercules, fighting against Typhon, for the freedom of his family and friends. Of course, his friends, the Avengers, will not let him face this challenge alone! The story originally appeared in The Avengers #50, 1968.

Roy Thomas is one of the best to ever write the Avengers, there’s no doubt! The pencils of ‘Big’ John Buscema are arguably the perfect way to present a mythological story in the pages of a comic book. He actually commented often about how he enjoyed drawing mythological characters and not superheroes. He’s honestly one of the best all-time no matter what he put in a panel, that cannot be argued. Letters by Sam Rosen, and a cover by Ernie Chan (a redrawn version of Buscema’s cover), really put this issue at the top of the heap!

 

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Frankenstein #10, 1974 “”The Last Frankenstein”

After a short (but glorious) run, Mike Ploog handed over the reigns to the Frankenstein title. ‘Big’ John Buscema  was the man drafted to do the job (pencils), and did he ever impress! He didn’t do a ton of horror throughout his career, but when he did, it was impressive. I loved it when this title went off the reservation with its stories, because the sky was the limit. There could be a flashback story or one in present-day! This story involved an ancestor of the original Baron Frankenstein, and he wants to capture the Monster for a sinister reason that only he knows!

No matter who your favorite creative team is on this title, you have to love this issue! Gary Friedrich was the writer, and does a great job, as usual. His work on titles like this and Ghost Rider, are very solid. Of course, it doesn’t hurt when you have an illustrating team like ‘Big’ John Buscema and inkers Frank Giacoia & Mike Esposito, either. The colorist was Petra Goldberg, the letters by John Costanza. Carefully edited by ‘Rascally’ Roy Thomas, and cover by Mr. Gil Kane (inks by Romita)!

 

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Marvel’s Unsung Heroes! -Ron Wilson!

billyd75:

Happy birthday, Ron Wilson!

Originally posted on Magazines and Monsters!:

Of course everyone knows names like Kirby, Buscema, Romita, and Colan, but there is a plethora of other guys (and girls), that need to be given a great deal of credit for the success of Marvel Comics. These others helped forge a new pathway, and their number needs to be counted. So, for the month of April, I’ll be spotlighting some of the work that these unsung heroes gave us all to enjoy over the years!

I’ll be presenting these in no specific order,  but rest assured, we’ll get a peek at a few names that you should recognize! First up is Ron Wilson, because his pencils have always been a favorite of mine, and I think he deserves more respect than he’s gotten over the years. From his great run on titles like Marvel Two-in-One, to more obscure titles like Chamber of Chills, you’ll see it…

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Daredevil #47, 1968 “Brother Take My Hand”

With the Vietnam War in full swing, and the tragic deaths of Martin Luther King Jr. and Robert F. Kennedy, the atmosphere in the U.S. (and the world) in 1968, was less than inspiring. Many rallied to try to reinforce efforts against such atrocities, and Marvel Comics would add their little story to help ease racial tensions. It might seem to some that a story in a comic book is inconsequential but I beg to differ. Comic books were definitely on the rise in the late 1960’s, and were gaining ground with the youth of America once again. This story, by Stan Lee and Gene Colan is one that still resonates to this day.

In this tale, we see a soldier, Willie Lincoln, who’s a black man who was wounded in Vietnam, and lost his sight. He’s still trying to get his bearings with his blindness, and it isn’t going well. Daredevil has agreed to entertain the troops with some of his acrobatic maneuvers, and Willie is a huge fan of his. They hit it off great, and DD tells Willie to look up a friend of his when he gets back to the states. The friend of course, is Matt Murdoch! It’s a great story that really hammers home the point of no matter what the color of your skin is, we’re all the same.

Written by Stan ‘The Man’ Lee, pencils by Gene ‘The Dean’ Colan, inks by George Klein, and letters by Artie Simek! This is one that I own in a reprint book that was a tribute to Gene Colan. I believe the proceeds (or part of them) went to help Gene with some medical expenses. If you can grab a copy of this book or a trade containing this story, don’t hesitate!

 

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Cinema Sunday: Curse of the Undead (1959)

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Title: Curse of the Undead

Distributor: Universal-International

Writers: Edward Dein, Mildred Dein

Director: Edward Dein

Producer: Joseph Gershenson

Starring: Eric Fleming, Michael Pate,

Released: May 1959

MPAA: UR

 

As promised, I’m delivering on my vampire/western movie review now! This classic was when  studios like Hammer were on the rise, and Universal was on the slide. Back in the 1930’s-40’s, Universal was king of the hill, but by the late 1950’s, they had definitely started to run out of ideas, and their stars were aging. But, this little gem was one that let people know they were still around!

This film is great for so many reasons, but also a grim reminder of the sad, tragic life of actor, Eric Fleming. If you read-up on his life, you’ll understand. Many people have written some good pieces on him, and you can find one of them by clicking here. The man did go on to star in the hit T.V. western series, Rawhide, alongside of people like Clint Eastwood. Another star of this film was also a western T.V.  staple, in Kathleen Crowley. She starred opposite James garner on Maverick. Well, enough about the cast for now, let’s get right to the movie!

 

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The film begins with a man and a woman riding a wagon. They stop at a home, and head inside. It’s the town doctor, Dr. John Carter (John Hoyt), and his daughter, Dolores (Kathleen Crowley). He’s there to visit a girl that has fallen ill, as have a few others in town recently. The town minister, Preacher Dan (Eric Fleming – image below), is also there, praying for the girl. She seems to have taken a turn for the better, and Dr. Carter doesn’t have a clue about why that is or what is plaguing her. As they all leave the room and head downstairs for a meal, they aren’t there for very long,and then a bone-chilling scream rings out from the upstairs bedroom where the sick girl is sleeping. As they walk in, they see that she is dead. The parents cry out in pain, and the doctor and Preacher Dan are left to figure out what’s going on. neither has any answers, but Preacher Dan notices some puncture marks on the girl’s neck, and wonders…

 

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As Dr. Carter and his daughter near their home, his son, Tim (Jimmy Murphy), shows up, and flips out. He’s been beaten up pretty badly by a local goon that has caused trouble for the Carter’s named Buffer, and is livid. Dr. Carter calms him down a bit, and heads off to talk to the sheriff about the situation. After Dr. Carter arrives in town, he talks with Sheriff (Edward Binns – image below), and the sheriff assures him that he’ll talk to Buffer about the problem. We then see a black-clad stranger on a horse, watching the two men go their separate ways. The sheriff heads into the saloon to confront Buffer (Bruce Gordon – image below) and his men. He tells Buffer to stop harassing the Carter’s, and then pulls out his revolver when Buffer gets jumpy.

 

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Meanwhile, Dr. Carter pulls in at his house, but as his family comes out to meet him, he falls out of the wagon. They rush him inside, but he’s dead. Tim flips out, but gets slapped down by Preacher Dan. The next time we see them is at the funeral, and we also see the black-clad stranger, watching in the shadows. He locks the gate, and then creeps into the coffin where Dr. Carter’s corpse has been laid to rest! After hearing there has been more shenanigans from Buffer (presumably), Tim goes into town to face him. Within minutes of Tim getting drunk, Buffer comes into the saloon, and the two have a gunfight. Tim ends up on the wrong end of that confrontation, and ends up six feet under.

 

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The following day, we see Dolores putting up posters all over town, advertising for a gunman to avenge her family losses. The sheriff tears them down, but Dolores won’t be stopped. We then see the slack-clad stranger, and he picks up one of the posters, and heads into the saloon. He tells Buffer and his men that he’s going to take the job, and that he always sees a job through to completion. One of Buffer’s men tries to shoot him, but after he shoots first, the stranger returns fire, and shoots the guy’s pistol right out of his hand!

 

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Over at the Cater ranch, Preacher Dan is trying to put the moves on Dolores, but then a knock at the door interrupts that idea. The stranger has arrived, and introduces himself as Drake Roby (Michael Pate). He and Preacher Dan have a bit of a verbal confrontation, but Dolores tells Dan that she’s going to hire him no matter what he says. She even agrees to let him stay at the house, too! Preacher Dan is furious, for a number of reasons, the biggest of which is because he likes Dolores. Later that night, while Dolores is sleeping, she gets a visit from Drake, and her puts the bite on her. In town, the sheriff, Preacher Dan, and Buffer are trying to figure out what this guy is all about. They formulate a plan to keep Buffer out of Drake’s cross-hairs, and to get Drake away from Dolores.

 

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Will Preacher Dan and the sheriff be able to find out Drake’s secret, and put a stop to his reign of terror or will Drake vamp the entire town?!?

 

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OK, here are my thoughts:

I heard about this film on a podcast, and it sounded great. I was not disappointed when I saw it for the first time or the second. It has some scenes that really let you know how simple, but also how wide open things were back then (1880’s). The actors in this one were already seasoned, especially in the western genre. It does seem more like a western than a vampire flick, but don’t let that fool you, this film is solid. Michael Pate, Eric Fleming, and Kathleen Crowley, all give wonderful performances. The role of Tim (Jimmy Murphy), is a little over-the-top, but nothing too distracting.

It’s definitely true that this film is better in black and white. It gives it that feel you need to be convinced of the era the film is supposed to be taking place in, for sure. The sets are all good, and really seem like an old western town that isn’t quite up to the times just yet. The music is about what you’d expect for this era of films. Nothing flashy, just standard bells and whistles. There is this creepy music that plays every time Drake appears, and that is a little different than usual.

Give this one a shot, and I’m sure you’ll be surprised at how much you’ll like it. It’s a great way to spend a lazy afternoon!

Click here for the trailer!

 

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Valentines Day Special! “Panel Love”

In honor of Valentine’s Day, this post will show all the love in the Marvel Universe! No rhyme or reason (OK, other than starting and finishing with the Black Knight), just some good old-fashioned panels showing heroes and heroines of all different walks getting their love on! I found quite a few Fantastic Four panels, and believe it or not, some horror panels, but the variety is here for everyone! People all over the world…join hands…start a love train.., love train! Enjoy!

Art by Tony DeZuniga (RIP)

Art by Tony DeZuniga

Art by Gene Colan and Tom Palmer.

Art by Gene Colan and Tom Palmer

Art by Jack 'King' Kirby & Joe Sinnott

Art by Jack ‘King’ Kirby & Joe Sinnott

Art by Jack 'King' Kirby & Joe Sinnott

Art by Jack ‘King’ Kirby & Joe Sinnott

Art by Jack 'King' Kirby & Frank Giacoia

Art by Jack ‘King’ Kirby & Frank Giacoia

Art by 'Big' John Buscema & Dan Adkins

Art by ‘Big’ John Buscema & Dan Adkins

Art by George Tuska & Vince Colletta

Art by George Tuska & Vince Colletta

Art by Gil Kane & Joe Sinnott

Art by Gil Kane & Joe Sinnott

Art by Jack 'King' Kirby & Vince Colletta

Art by Jack ‘King’ Kirby & Vince Colletta

Art by Tom Sutton & Ernie Chan

Art by Tom Sutton & Ernie Chan

Art by Gene Colan

Art by Gene Colan

Art by Gene Colan & Tom Palmer

Art by Gene Colan & Tom Palmer

Art by 'Big' John Buscema & Jose Marzan

Art by ‘Big’ John Buscema & Jose Marzan

Art by 'Big' John Buscema & Jose Marzan

Art by ‘Big’ John Buscema & Jose Marzan