Trailer Tuesday: NINJA BUSTERS - Where it all began.

Last month wass the anniversary of both my first and my last films. So here is the trailer for NINJA BUSTERS (below) written when I was 21 or 22 years old.

The original screenplay THE FALCONS CLAW written by the star Sid Campbell was about two guys who are constantly working out at a dojo and get a job at a warehouse... Where the other workers are "zombies" - hypnotized to obey orders and not notice that they were shipping drugs for a gangster.

Director Paul's first film DEATH MACHINES was about 3 hypnotized martial arts assassins who obeyed orders and could feel no pain, and I suspect that is where Sid (star and original writer) got that idea... or maybe someone told him that Zombie movies were popular and he wasn't thinking about horror zombies. It was an action script that had one big fight at the end, but the rest was lots of working out and sparing in the dojo... Sid owned a dojo in Oakland so he "wrote what he knew" - training. Not fighting.

I was hired to rewrite it and add more action. SILVER STREAK was one of my favorite movies and I love ABBOTT AND COSTELLO MEET FRANKENSTEIN, so I rewrote it into a fun chase action film where the ninjas were always coming out of the shadows and attacking. Kind of THE WARRIORS with Ninjas - a series of chases and fights that used every location that Paul and Sid said were available. Instead of lots of working out at the dojo, flighting Ninjas that grew out of the shadows wherever they were.

I had a lot of cool scenes, like the one at the automobile graveyard - stacked with junk cars, where shadows crept out from under the wrecks and became Ninjas. My theory was that if we saw this happen a couple of times, every scene where there was a shadow somewhere would create suspense. Low budget production value. Why not turn *naturally occurring* shadows into a threat? Once you establish that Ninjas can kind of be "born" from the shadows, every shadow is a threat! None of that is in the movie.

Paul had an unusual way of raising money for his films. He put on these Martial Arts Exhibitions with the stars and sold tickets, had Luaus with exhibitions, did things that were closer to tent religious revivals than anything resembling an investor prospectus. Because the SEC said you could only have 35 investors, Paul created all of these events and all of the money raised when into one of 35 "investor's groups" that funded the film on paper.

This film was the first in a 3 film contract I had with Paul, and I wrote the other two scripts (and a fourt script) while they were raising the money... and during production shut downs. I wasn't paid for those scripts! But when I wrote them, NINJA BUSTERS was the first film for this slate of films and we would just keep making films in Oakland forever. The other two were a Romeo & Juliet kung fu flick about Columbus Avenue in San Francisco - on one side was Little Italy and on the other side was Chinatown - so I had a love story amidst a gang war. The other one was called A FIGHTING MAN and was about no rules barn fights that was kind of the kung fu version of HARD TIMES where people often fought to the death, and this mysterious stranger shows up to fight the champ... That was an idea from a news article I read. My unofficial 4th script was something that I planned to direct if the first three films made money - a science fiction kung fu movie about a post apocalyptic world and a WAGES OF FEAR type journey through the wilds of the nuked portion of the USA to deliver supplies from San Francisco to Boston. I had mutants who could travel through mirrors! (I'd seen ORPHEE). I don't even have copies of any of those scripts, because I delivered the originals thinking that NINJA BUSTERS would be a big hit and we'd need those scripts right away....

And NINJA BUSTERS crashed and burned.

One of the problems on low budget movies with non actors is that sometimes the audience is laughing *at* the movie (DEATH MACHINES had all kinds of clunky lines like "There go the guys that cut off my arm!" and a weird light filter problem where Detective Green was actually green in a whole scene - plus an actress with an accent that seemed almost cartoonish... Lots of unintentional laughter) so my plan was to add *intentional* laughter with some funny lines and situations. My theory was that if the audience was laughing on purpose and having a good time, they would forgive any of the low budget issues and maybe even laugh *with* problems that they would normally laugh *at*. Comedy is cheap, and covers a variety of problems.

MY story had these two losers joining a *women's* martial arts self defense class to pick up girls, but instead they pick up trouble when they see a mob assassination on a date. I had a great scene where one of them reads from their "How To Kung Fu" book while the other fights - and it doesn't go well. "Using your shoulder as a fulcrum..." And the guy fighting tries to follow those directions. Eventually the two guys actually learn how to fight, so we can have the big action scene at the end where they save the day.

You never want to be too serious if you don't have a lot of money. One of the things that all of the good reviews of the film point out is how *fun* it is - like we were having a good time making it. Well, making a movie is making a movie - what happens behind the scenes has little to do with the tone of the film. There are movies where the male and female lead have amazing chemistry onscreen... But hated each other in real life.

This thing had 3 directors! Lots of problems! The first director had never even made a short film! I still don't know why he was directing it. You always want the BEST person you can get for the job if you don't have much money. The BIGGEST name star you can get for the money, etc. Make the most expensive looking film possible for the least amount of money. So we weren't always having a good time. But the film was funny, and that helped.

One of the good things was that once that tone was set, it remained for the next two directors (the late great Paul Kyriazi in the clean up position, taking all of the existing footage and coming up with a way to shoot new material with new cast members that would cut together into a movie). So the humor remained.

You can see the Abbott & Costello influence in the trailer. Because Sid's script named the characters after the actors who would play them, I retained that (mostly to appease Sid), but the first director leaned into the Abbott & Costello thing and I changed them to Chick & Bernie. That director burned through our budget and 2 week schedule shooting the Dojo scenes and a half page scene in a nightclub... and the film died for the first time.

But we had the World Champion Oakland Raiders signed to play the guys in the Automobile Graveyard scene, so a new director shot that scene.

Then the film was shelved again for a few years as Paul tried to find the money to finish it. Thai money came from a guy who also had a dojo, and a son who was a wannabe rapper and break dancer, and a woman that the investor thought should be the lead, and...

Well, when the two female leads (actual actresses) refused to return because they were owed money, suddenly the script needed to explain why the cast changed and Paul reworked the script. Basically pasting together 3 versions of the story - but my humor element remains and big chunks of the story are my script. It was a troubled movie...

And then the negative and only print vanished. That new investor had set it up with a distributor who sold it to Mexican TV (before Robert Rodriguez would make EL MARIACHI for that purpose) and that distributor had gone bankrupt and nobody had a copy of the film. The problem with low budget films is that there isn't any money for back up prints and if the one copy was gone? The whole film was lost (except for a dubbed Spanish version) and the one screening of the rough cut to raise post production money was the only thing I had ever seen... or would ever see.

Until a guy who ran a "so bad they're good" film festival bought a film storage locker full of low budget films and discovered NINJA BUSTERS around a decade ago. Showed it at his festival, where it was a favorite, which lead to Showings at Alamo Draft House cinemas and a Special Edition DVD release...

And a Screening in San Francisco, with cast & crew doing Q&A afterwards... On October 29th a few years ago... at a theater in Chinatown where I used to see undubbed Kung Fu movies around the time I was writing this script.

So here's the trailer for my first produced screenplay!

Here's one of a bunch of great reviews of the film:

NINJA BUSTERS REVIEW

The key to making low budget movies is humor. They are either going to laugh at your film or laugh with it. If you have intentional humor, they will laugh with it!

- Bill

Happy Halloween!

From 16 years ago...

Remember that blog entry on the nature of art, where I talked about that sculpture of the dancing 1950s boy holding up the American flag on the corner of Victory Blvd and Buena Vista in Burbank? And how it would be cool if someone put something else in the boys hand?



Well, the problem was I needed a ladder or the cover of darkness to replace the flag with the bloody skull. I was afraid that once I put the skull in his out-reached hand it would be taken down quickly, so I had to put the skull there and snap a picture ASAP. And I underestimated the height of the sculpture. Without a ladder and without the ability to use a shopping cart or something to get the skull into his right hand, I could only put it in his left hand... so that's what I did. I have no idea if it lasted the whole day, but it was up both going to and coming from Burbank - a couple of hours.

THRILLER Thursday: GUILLOTINE

Should have run this last week, because it's my favorite episode...

Guillotine

The spider web fills the screen, it's Boris Karloff's THRILLER!

Season: 2, Episode: 2.
Airdate: Sep. 26, 1961

Director: Ida Lupino.
Writer: Charles Beaumont based on the story by Cornell Woolrich.
Cast: Robert Middleton, Danielle de Metz, Alejandro Rey.
Music: Jerry Goldsmith.
Cinematography: Benjamin Kline
Producer: William Frye.

Boris Karloff’s Introduction: “The early dawn. The gleaming knife. A man seized in his cell by armed guards in his stocking feet, snatched from a dream of freedom to be thrust into the waiting embrace of Madame Guillotine. Altogether an unenviable experience. Not however inevitable. It is related that there have been certain criminals, cutthroats and murderers all, who have by one means or another evaded this chilling fate. Well, the efforts of one such fellow to alter his ordained destiny form the substance of tonight’s story.

“The location: France. The year: 1875. And the theme? Well, you might call it togetherness. The normal association of a body and the head it comes with. You’re about to meet three people who enjoy seriously conflicting viewpoints on the subject. (The guillotine blade slices down, dropping a head into the basket which Karloff retrieves.) Here is the condemned man, Robert Lamont, who desires to keep his head while others about him are losing theirs. Enacted for us by Alejandro Rey. (The blade slices and the next head.) His good wife and the chief source from which his present dilemma obtains, Babette. Played by Danielle de Metz. (The blade slices and the next head.) And the third figure in this grisly triangle, the estimable and much maligned Mssr. De Paris. Public servant par excellence, portrayed by Robert Middleton.

“This drama may be considered, not to raise a tribute to the march of civilization, but also for the unconquerable spirit of convicted murderers. Of course, such practices may soon become things of the past. With modern methods of scientific liquidation instant death is now available to the masses without fuss and in most cases without undue delay. The old traditional ways were always so much more quaint.”

Synopsis: The Executioner “Mssr deParis” (Robert Middleton) tests the guillotine. They raise the blade, he locks the “trigger”, then pushes the lever with his foot to release the trigger. The blade glides down in a flash - through the neck stockade where a prisoner will soon be. The Executioner smiles. They place a cabbage in the neck piece and the Executioner pushes the trigger lever with his foot again. Wooosh! The cabbage is cleanly sliced in half. Half falls into the “head basket” below. The device is ready for it’s next victim...

Hours before dawn: In the darkest cells of the prison, two Guards have removed their shoes and creep to a cell where two condemned men sleep. Professional gambler Robert (Alejandro Rey) wakes up when the cell door opens. Are they coming for him? No, the Guards grab the other prisoner, who screams for his life. Robert watches through the cell door as they take him away...

Just before dawn: The cell door opens again and Robert turns - are they coming for him as well? No, it is his wife Babette (Danielle de Metz) who has bribed a guard for this visit. We get a nice piece of dramatic exposition on how he got to this place: he discovered Babette was cheating on him and killed the man. He claims he has forgiven Babette, but seems to rub in her indiscretion again and again, which makes her attempts at last minute reconciliation difficult. He kisses her and tells her that he has forgiven her, but can not forget. That her testimony against him may have damned him to this fate, but he knew they would force her to take the witness stand. That any other jury would have come back with a “not guilty” verdict, because of the “unwritten law”. There is all kinds of baggage in this relationship - and love and anger are in equal parts.

Cheering from outside the cell, and Robert and Babette look out the window to see the prisoner being escorted to the guillotine. Woosh! Plop - the head falls into the basket.

Robert tells her that soon it will be his turn, and Babette asks what can she do? Robert tells her that tradition, an unwritten law, that if the Executioner dies on the day of an execution the condemned man is set free. So if she can find out what day Robert is to be killed, and then kill the executioner... they can be together again. Babette isn’t all that hot on killing a man... will she do it or not?

The Executioner is given his next assignment from the warden... Robert. The clock is tricking... but ticking until *when*?

A Few Days Before The Execution: Outside a café, Babette carries a basket of flowers, selling boutonaires... and approaches Executioner. He is amazed by the bright colors of her carnations, and asks where she buys her flowers. She says she grows them herself, this is a family flower that has been in her family for generations. The Executioner’s hobby is gardening, and he asks her to sit with him for a moment and discuss flowers. She flirts with him as they discuss flowers - and there’s no shortage of words and phrases with double meanings here. He is a lonely older man, a sad man, and she is a beautiful woman. She offers him clippings of her family’s carnations... and asks when she can come by with them... cleverly finding out that he must get up very early on Thursday to work. So they make a date for Wednesday afternoon.

After he leaves, Babette accepts a drink from one of the other customers - a carriage Cab Driver (Gaylord Cavallaro) who informs her that man she was talking to was the Executioner. The most hated man in Paris. This is more sly exposition, as this guy is trying to pick her up by giving her some information... including that the Executioner will cut off a man’s head for money, but he wouldn’t hurt a cockroach without being paid...

This episode is filled with great matchcuts, and on the word “cockroach” we go from an empty saucer in the café to an identical saucer in Babette’s flat with a cockroach eating some poison on it and keeling over onto its back - legs convulsing. Babette is timing the roach’s death as she brushes her hair. She pours the poison into an ornate little tin, wraps it in her lace handkerchief and...

The Day Before The Execution: Her lace handkerchief on her lap as she sits in the Executioner’s garden on Wednesday afternoon. He plants the clippings while she flirts with him. When he’s finished he sits with her and breaks the bad news that he knows will break his own heart - he tells her that he is the city’s executioner. But she doesn’t seem to be repulsed like everyone else... like every other woman he has ever met in his life. “I am not under sentence, Mssr. And until I am, I don’t see why I should fear you.” Wait... is this a chance for the executioner to find love? Romance? This young woman knows his secret and continues to flirt with him.

This is a great scene, because she is flirting with the man who will take off her husband’s head... unless she poisons him dead. And he is a charming, shy, sympathetic man... who dislikes his job, but someone must do it.

They are close to kissing when they’re interrupted by his housekeeper Mdm LeClerc (Janine Grandel), who is calling him to dinner. The housekeeper is stern, abrasive, and reminiscent of Danvers from Hitchcock’s REBECCA. Oh, and slightly jealous. She tells Babette that she must leave now. Babette grips the lace handkerchief with the poison cannister as he walks her to the front gate. How will she poison him now? She offers to take a stroll with him later that night, but he says he must get up very early for work tomorrow. She says his dinner smells delicious and he gets the hint and asks her to dine with him.

Dinner for three. No shortage of tension as Mdm LeClerc snipes at her the whole time... while Babette tries to figure out some way to drop her poison into his food while the housekeeper isn’t looking. Had it just been the two of them dining, it would have been much easier. His wine glass is right there... but the housekeeper is watching her like a hawk. The tin of poison stays wrapped in the lace handkerchief.

After dinner, the Housekeeper steps into the kitchen for a moment and Babette asks the Executioner for a glass of water as a way to distract him so that she can pour the poison into his brandy snifter. But the moment his back is turned for a moment and the tin is out of her lace handkerchief the Housekeeper returns. Dinner is over, time for her to leave... and she still hasn’t poisoned him!

Time is ticking away until dawn and the execution!

The Housekeeper mentions that she is preparing the Executioner’s favorite breakfast for his pre-dawn breakfast - apple pancakes (pastry). Babette asks Mdm LeClerc if she will show her how they are made, and the two women go into the kitchen. On the counter is a big bowl of chopped and seasoned apples next to the dough. Babette asks her to write down the recipe, and while Mdm LeClerc is doing this she dumps the tin of poison into the apple mixture and quickly stirs it. The poison looks like the cinnamon. Babette quickly sets the stirring spoon down as the housekeeper hands her a folded piece of paper with the recipe.

In the prison, a guard slides a folded piece of paper to Robert. A note from Babette saying that he need not fear the dawn, she has completed her assignment.

The Morning Of The Execution: The Executioner’s Assistant (Peter Brocco) preps the bladeless guillotine for Robert’s execution.

The two Guards take off their shoes and creep to a cell where condemned men sleep... this time they have come for Robert. The Warden (Gregory Morton) enters with a Priest (Guy deVestel) for Robert’s final confession. Robert apologizes for getting the Priest up so early in the morning, but he has nothing to confess.

The Executioner finishes a big plate of his favorite breakfast, the apple (poisoned) pancakes. Checks his watch - time to go. Grabs the guillotine blade in it’s leather carrying case and checks the blade - very sharp. Puts on his coat and leaves the house - briskly walking across town in the pre-dawn light.

In the pre-dawn light the Warden and Priest and Guards escort Robert through the prison hallways to his death. Robert continues to turn down the Priest - if he dies without final confession he will be sent to Hell. Robert wonders why everyone is so sure that he will die today, and makes a 2 to 1 bet with the Warden that he will live to see the sun set again.

The Executioner continues briskly walking across town - almost marching - to Robert’s execution. But he halfway down this street he stops for a moment, removes his handkerchief and wipes sweat from his brow. Is the poison finally taking effect? Or is it just a warm morning? He checks his watch...

The Executioner’s Assistant checks his watch - the Executioner is running a little late this morning, but there is still plenty of time.

The Warden and Guards escort Robert downstairs, Robert almost tripping at one point. “Watch your step, Mssr.”

The Executioner almost trips... he is now feeling sick. He holds his stomach, has to stop for a moment to wipe the sweat again. Passes a bar with a sign advertising Cognac...

The Warden pours Robert a snifter of Cognac, and one for himself - the condemned man’s final drink. A philosophical conversation... then Robert asks if it is true that if the Executioner dies on the day of the execution the next man in line is pardoned? Yes... but this Executioner has never been late, never been ill... never had so much as a stomach ache.

The Executioner holds his stomach, leaning over a fountain - sick. He staggers down the street, face sweating, sees a pharmacy and pounds on the doors. No one answers - it’s before dawn. He continues staggering forward, hanging onto the pillars of a building to stay upright. Marching forward to Robert’s execution, the case with the guillotine blade at his side. He passes a barber shop...

The Barber (scene stealer Marcel Hillaire) arrives to shave Robert and cut his hair - must look good for his execution, right? A very macabre conversation between the two: they talk of going to Hell, and the Barber says it is a myth that he draws the line on the neck for the Executioner to follow, and he has never loaned his razor to a prisoner so that he wouldn’t have to face the national blade... all myths.

The Executioner continues forward in agony. He *will* make it to the execution. Nothing can stop him... even though he is sweating like a horse.

A sweaty horse and the cab behind it stops at the prison’s side gate. The Cab Driver helps Babette down from the carriage, joking with her about being front row for the execution. Flirting with her in an odd way. She shoots him down, he drives away. Babette asks the Gate Guard if she can enter here to see the execution. Nope - this gate is only for the Executioner. The public gate is around the corner. Has the Executioner arrived yet? Not yet. She smiles.

The Warden tells Robert that the Executioner is here, now, testing the machine. He has never been late. “I can assure you that at this very moment he is raising his hand in a signal to his assistants.” For the first time Robert looks worried.

The Executioner raises his hand to hail the taxicab as it comes towards him. The Cab Driver stops, climbs down to where the Executioner is doubled over in agony. “Something I ate...” The Cab Driver offers to take him to a doctor, but the Executioner says he *must* get to the prison to fulfill his duty. The Cab Driver says he will take the man to a doctor because that is the right thing to do, but he will *not* take him to the prison to take another man’s life. One of the great things about this episode is that it manages to keep you on the edge of your seat while discussing capital punishment. If the Cab Driver takes the Executioner to the prison, Robert dies. If he refuses, Robert has a chance at living. So the stakes in this conversation are the stakes in the story. And it’s dramatic, because the Executioner is seriously ill... but still arguing that he must do his sworn duty. And the great side-effect of budget constraints in television is that this is the same Cab Driver from the café, the same one who just took Babette to the prison and was on his way back from the prison when the Executioner flagged him down. So we *know* this character. His earlier conversation with Babette about how the Executioner wouldn’t kill a cockroach but sees nothing wrong with killing a man tints this conversation. The Cab Driver tells him that his conscience will not permit him to take him to the prison, but it is only a few hundred yards away, and drives off.

The Executioner continues staggering towards the prison... towards Robert’s death.

Ten Minutes Before The Execution: The Assistant tells the Warden that the Executioner has not arrived yet, not even a message from him. There will not be time for a test before the execution. Robert is no longer worried... the Warden is worried.

The Executioner staggers relentlessly towards the prison - it is within sight now. He leans up against a wall, sick. A Policeman approaches, thinks he’s a drunk, tells him he should go home and sleep it off. The Executioner says he *must* get to the prison... then keels over.

Robert and the Warden have a conversation about execution versus rehabilitation - again, this is perfectly in context for the story and even adds to the suspense because the longer they stall the execution the more likely that the Executioner will finally stagger into the prison with the guillotine blade and Robert will lose his head. Robert - the gambler - asks if he shouldn’t be taken to the execution platform about now. Hey, the spectators must be disappointed. The Warden has Robert taken out to the courtyard, knowing that if the Executioner doesn’t show up it will be a major public embarrassment for him.

That Policeman wants to get the Executioner to a doctor, but he *must do his duty*... so the Policeman helps him to the prison.

They bring Robert out to the courtyard - the spectators go wild. Robert looks through the crowd for Babette - can’t see her. The Priest makes one final effort to get Robert’s confession, but he refuses. Minutes tick away - if they get to the time of the execution and the Executioner has not arrived, Robert goes free.

Babette is not in the crowd because she is still at the prison’s side gate - counting down the minutes there, worried that the Executioner still may arrive. He is a big man, did she put enough poison in his food for such a big man? What if he is *not* dead? What if he is still coming to the execution?

And then the Executioner appears across the street, held up by the Policeman (Vance Howard, Opie’s dad). The Policeman yells for the Gate Guard to give him a hand. Babette backs up, hiding in the doorway. Terrified that the Executioner will fulfill his duties. The Policeman and Gate Guard practically carry the Executioner to the gate, leaning him against the wall only inches from Babette as they open the door. The Executioner looks right at her and asks, “Why?” She tries to get away from him, but is trapped in the doorway - trapped with the man she murdered. A shy and lonely man... now close to death. “I thought you were fond of me. For the first time in my life someone who... Why?” Big dramatic moment. Babette says she has never seen him before in her life and walks away.

The Executioner tells the Policeman to stop her, and she is taken into custody. The Executioner tells her that he *will* keep his appointment, and there’s an echo here of her earlier line about not having to fear him because she is not under sentence. Well, she will be now!

The Executioner’s Assistant and the Prison Doctor (Charles LaTorre) come out, and they take the Executioner into the courtyard... and the guillotine... and Robert.

Robert is preparing for victory, when the Executioner is carried into the courtyard. The spectators cheer - the show will not be cancelled! Robert realizes this can go either way - his confidence vanishes.

The Executioner falls to the ground. The Assistant takes the case with the guillotine blade from him and attaches the blade. They help the Executioner to his feet.

Robert says, “He will never make it,” but he’s not sure he believes that.

The Executioner’s legs no longer can hold up his stout body, but they carry him towards the platform... closer... closer... closer! Robert repeating, “He’ll never make it!” with less confidence with every foot closer to the platform.

Robert is taken up to the guillotine, his neck placed in the stockade, his head dangling over the head basket. He yells that no one but the Executioner must touch the trigger.

Only the Executioner and the Prisoner are allowed on the platform, so they lay the Executioner down at the base of the steps.

“No one else! You hear me, no one else!” Robert is screaming and crying and...

The Executioner is *crawling* slowly up the stairs to the platform. Each step is agony.

The spectators are screaming.

Robert is screaming.

The Executioner is slowly crawling across the platform to the guillotine. One inch at a time. Closer... closer... closer.

Robert is screaming, “He can’t kill me! He can’t kill me!”

The Executioner crawls right up to the guillotine trigger! And then drops to the platform - unmoving.

Robert’s screaming turns from terror to hope.

The Prison Doctor climbs up onto the platform, holds up the Executioner’s arm to take his pulse. Conforms that he is dead.

Robert’s hope turns to triumph, to joy - he will be set free! “He’s dead! I win! I win! I win!”

The Prison Doctor lets go of the Executioner’s wrist... and his arm falls... and hits the trigger... and the blade falls... and so does Robert’s head.

The end.

Review: Another perfect storm for me - Ida Lupino *and* Cornell Woolrich! When I first watched the THRILLER show as a kid, this is the episode that stuck with me. It had me on the edge of my seat for a full hour. Would the executioner make it to the prison? I was a little concerned when watching it again that it wouldn’t hold up to my memories... but it was just as great as I remembered it.

As I’ve said before, Woolrich is known as one of the three fathers of modern Noir fiction, and the films made from the work of those three and their contemporaries are what we know as Film Noir. Woolrich is the guy who put the Noir in Noir thanks to his “Black Series” of novels, including BRIDE WORE BLACK, BLACK PATH OF FEAR, BLACK ANGEL, and many others. And if you are wondering how Noir can have three fathers and no mothers, Woolrich is probably closest to taking that mother role... not because he was Gay, but because he specialized in female lead stories. Noir from the woman’s point of view. Many of his stories, including this one, deal with women doing terrible things to save the men in their lives. Since Noir is about good people doing bad things... and discovering the darkness within that they wish they’d never uncovered, the idea of an “innocent” housewife stepping over the line to help her husband out of a jam is prime Noir territory and Woolrich mined it throughout his career.

I have always wanted to do a more faithful film adaptation of his novel BLACK ANGEL about a basically quiet and subservient suburban housewife whose husband is accused of murder and there is so much evidence that he *will* be convicted... so comes out of her shell and becomes a detective, going undercover to trace his steps on the days leading up to the murder in order to uncover the real killer. But this quest creates one line after another that she must cross - creating a spiral of descent into the darkness. How far will she go? Will she start using drugs in order to be accepted by addicts as she goes undercover following a lead? Yes! Will she become a prostitute and sleep with a bunch of strange men in order to follow a lead? Yes! As the quiet housewife spirals down and down in search of the evidence to clear her husband of these charges - degrading herself again and again - we begin to wonder if this man is worth all of this. If *anyone* is worth all of this. And also - if she proves him innocent, will he want whatever is left of her back? This is an awesome Noir story that Hollywood cleaned up for film - robbing it of all of its darkness. In the novel she proves that he is innocent and they live happily ever after... but Woolrich, like Raymond Chandler and many other pulp writers of the time, based his novels on short story material he’d previously had published... and in the short story version, “Angel Face”, she degrades herself only to discover that her husband is guilty, was always guilty, and their whole marriage was based on her believing his lies. And that’s the Noir ending I would use on a new film version. Darker than dark.

A similar ending to this story GUILLOTINE - where our wife character Babette must seduce and murder the executioner in order to save her husband’s life... and after she does all of these terrible things, it ends up being all for nothing. How dark can you get?

Though this is a fairly simple story - will Babette be able to poison the Executioner for the first half and then will the Executioner make it to the execution for the second half - it is all about suspense. Both of those situations are focused on suspense and the episode (and Lupino’s direction) are relentless in keeping us on the edge of our seats in anticipation. This is another Woolrich trait - where Hitchcock was the master of suspense on screen, Woolrich was the master of suspense on the page. Where they two intersect - the movie REAR WINDOW and the TV episode 4 O’CLOCK - we end up with classics. Woolrich knew how to keep the suspense escalating on the page, and in his novel PHANTOM LADY (which also needs a more faithful remake) the chapter titles tell us how many days until the protagonist will be executed for a murder he did not commit - even before the murder has occurred in the story! Talk about a page turner! You can’t finish one chapter without seeing the title of the next chapter with the number of days left... and you end up continuing to read. Can’t put it down! This episode uses those same suspense tools. We know when Robert will be executed and count down the days, hours, minutes, seconds until that happens.

One of the reasons why the suspense works in this episode is what I call the “THUNDERBALL Theory” in my Secrets Of Action Screenwriting book. In the James Bond movie THUNDERBALL the villain Largo has *two* nuclear weapons, and “tests” one on an island before hiding the other somewhere in Miami. That way the audience can see the destruction this weapon causes so that they know what would happen if the one in Miami detonates. If the audience doesn’t understand what will happen, if it remains abstract, there is less suspense generated. In GUILLOTINE we open with the title device being tested so that we understand what will happen later if Robert’s neck ends up meeting that hurtling blade. We get some great visual exposition showing us step-by-step how the device works - including that trigger which will become very important at the very end of the episode where there is no time to explain anything. You always want to get exposition up front so that it doesn’t get int the way of the ending. We don’t want to be explaining how that trigger works moments before the Executioner’s arm drops on it! Plus, knowing the full scope of the “event” gives the anticipation of that event (suspense) more weight. It’s not an abstract concept, this execution by guillotine, we have seen what that blade can do to a cabbage. And they *do* use this blade on the necks of men - which we know because that test at the beginning of the episode is for Robert’s cellmate... who loses his head soon after that test.

Hey, that brings up another great storytelling tool used in this episode - repeating the events that lead up to the execution. The episode opens with the Guards taking off their shoes and sneaking up to the death row cell to take the next victim of the guillotine... and grabbing Robert’s cellmate. By showing this procedure early in the episode, when we see the same procedure happening again we *know* that Robert will suffer the same fate. It makes the execution *real* and amps up the suspense in the situation. It’s a cousin to the THUNDDERBALL Theory - by showing what happens early, we turn an abstract idea into something tangible and that creates suspense later. This isn’t just some vague idea of a bad thing that might happen, we’ve *seen it happen*.

But the key to this episode and the key to this being effective as Noir is Robert Middleton’s performance and the way his character is portrayed. The Executioner must be both a serious threat *and* a sympathetic victim. Simultaneously. That’s a tough thing to pull off for a writer and a director and an actor - and here all three manage to walk that razor’s edge without being cut. Middleton, a character actor probably best known for the brutish escaped convict in DESPERATE HOURS, probably does his best work in this episode. When his blurry vision clears for a moment at the prison doors and he recognizes Babette, we genuinely feel for him. “Why? I thought you were fond of me. For the first time in my life someone who... Why?” That’s a heartbreaker!

The amazing thing this episode does is make up both want the Executioner to succeed in getting to the prison to do his job, and *not* make it to the prison so that Robert won’t lose his head. Ida Lupino manages to pull that off (with the help of Middleton and TWILIGHT ZONE screenwriter Beaumont - 22 episodes!) masterfully. Lupino is one of those great directors who somehow has slipped through the cracks and is not studied today. Part of that may be because she had to fight for every credit and ended up directing a bunch of silly TV shows like GILLIGAN’S ISLAND, but her work was always imaginative and amazing. Here she gives us POV shots from the Executioner that replicate the blurry fever vision of a poisoned man. Her THRILLER episodes and films are often filled with amazing visual experiments (frequently mentioned in this series), but she also knows exactly how to create suspense through editing and angle and camera movement. Her film THE HITCHHIKER is edge of the seat suspense. Here we have a simple story which is just a guy walking to work, right? Some other director might have made it just as exciting as some guy walking to work, but Lupino turns out an episode that was my favorite as a kid and still holds up as an adult.

Oh, gotta mention the amazing Jerry Goldsmith score! One of the major components in creating the suspense in this episode is his relentless score makes us feel the determination of the Executioner. Goldsmith was my favorite composer of film music from my lifetime, and long before he became one of cinema’s greatest composers of the 70s and 80s, he cut his teeth doing weekly scores for TV shows like THRILLER. His music elevates many of the weaker episodes and turns great ones like this into classics.

Okay, I’ve probably oversold this episode, but it’s still my favorite after all of these years and Stephen King and his PIGEONS FROM HELL can go suck it. Next week the streak of good episodes continues with an adaptation of Poe’s THE PREMATURE BURIAL, and after that another great creepy episode based on Robert Bloch’s THE WEIRD TAILOR. Stay tuned!

- Bill

ATLiH: Trilogy Of Terror: Part 3.... Was Che A Vampire?

ALL THE LOSERS IN HOLLYWOOD...

One night, sitting in Residuals Bar in Studio City (where the DRAGONHEART script was conceived) and drinking a Guiness, I was telling one of the stories that usually end up on this blog - a story about some poor misguided person in the film biz, and one of my friends said: “Where do you find these people?” I replied, “I bet I know all the losers in Hollywood”.... and they said that should be the title of my autobiography (or this blog). But instead, this blog ened up being called SEX IN A SUBMARINE due to a crazy script note I got from HBO on CRASH DIVE, and ALL THE LOSERS IN HOLLYWOOD was a title without a story... until now.

When looking for regular features for the blog, I thought it would be fun to tell a bunch of those stories of the oddballs I’ve met in the almost 30 years I’ve been in this business. I’m changing all of the names to protect the very very guilty (and avoid meeting lawyers) but the stories you are about to read are true... well, mostly true.

WAS CHE A VAMPIRE?

The last exhibit in our little gallery of gore might be called The Man Who Googled Himself... That’s not a very good title, this tale of terror really doesn’t have anything to do with Google - but my sister just sent me this new “game” where you Google the phrase “(Your first name) was arrested for” to find out about your sordid criminal past. You’d be surprised at all the criminal activities you’ve been involved in. You can only play this game once, so it isn’t as good as the Elephant Panty game, where you take two completely non-related words, throw quotes around them, and do a search. Then read all of the weird stuff on the hundred or so websites dedicated to “Sewer Golf” or “Television Trousers” or whatever you’ve looked up.

I Google myself every so often to find out if I’ve been linked to Paris Hilton or if they’ve finally discovered that I’m the father of the TomKat baby. I always run across something even more unbelievable. I might do a 2 hour class on Film Noir and quip that most of the characters in these films wear hats... Only to discover someone who took the class says on their website that “Martell says the main requirement in writing a film noir script is to make sure every character wears a hat” - and this person is *serious*. Out of the *one thousand* sentences in that class, they’ve latched on to *one* and decided that’s the key to writing a great script. This is some strange and misguided type of tunnel vision or selective hearing that leads to some really odd scripts. Pretty scary stuff!

I think how this happens is that the person already has some sort of odd hat fetish, and - like those dogs in Gary Larson cartoons who only hear “Blah, blah, blah, blah, Ginger, blah, blah, blah...” - these folks only hear what they want to hear. If it wasn’t about hats, they didn’t hear it. When I find something like this on a website or message board, I wonder what I can do to prevent it the next time I teach a class... but I’m not sure how. I welcome your suggestions.

BLAH, BLAH, BLAH, HORROR!
A friend of mine is a young writer-director who sees everything as if it relates to the struggles of his ethnic minority. He would even look at the “Television Trousers” results of the Google search and come away with how it relates to his ethnic minority. This writer-director has found funding within in his community to make four very political films. All are dramas about the struggles of his people. His first film got a lot of press, played in some film festivals, but never got picked up by a distrib. I saw the film at a local festival, and it was more political than dramatic - lots of speeches. Haven’t see his other three films, but they’ve gotten less press and fewer festivals have shown them. None of them are on DVD - no distrib. Now his community funding sources are starting to dry up, so he decided to make a horror film, because horror films are hot right now.

When my friend told me about this, at first I was surprised. This is a guy who thinks Hollywood makes stupid movies for stupid people. Most of our conversations have been the great debate about selling out versus being true to your beliefs. If you’ve spent much time on my website you know that I advocate being subversive - making genre films with a message. The script I’m currently trying to finish rewriting before I fly to London is a sci-fi action story about an agent with the Federal Department of Alcohol, Tobacco, Firearms & Androids hunting down some renegade androids set on overthrowing the US Government... but it’s really about tolerance. I’ve taken a bunch of situations that deal with prejudice against minorities and turned the illegal immigrants and Gay marriage and sweat shop labor and National Anthem in Spanish and people smuggled over the border in metal containers into... androids. I can deal with all kinds of issues in a script that most people will think is just an action movie.

So I told him I thought it was a great idea. Minorities are under-represented in Hollywood films, and horror films like my friend Darin’s TALES FROM THE HOOD and Snoop’s BONES were good, solid money earners with some cross-over (big fat white guys like me even paid to see them). I gave him a copy of my Horror Class CD and the usual advice to rent a bunch of horror movies and study them - take them apart and find out what makes them tick, and use that information to write his screenplay. I also told him that just because it was a horror movie, doesn’t mean it has to be stupid. You can make a point within a genre film.

Some of you may be shocked that he had four previous films that didn’t get distribution even though they played at festivals. When people hear the phrase “didn’t get distribution”, they think that refers to *theatrical* distribution. I mean, they’ll put anything on DVD, right? You’ve seen some of the crap they put on DVD... maybe even one of my 36 Oscar Worthy Films Starring Tom Cruise. Hard to imagine a film not being good enough for DVD.

At a panel at VSDA (video software dealers association) the distribs said that about 27,000 independent feature films are submitted to them every year (you read that right)... and each distrib only buys a few of them. A company like Asylum makes 12 films a year and buys another 12. Even if there were 100 distribs buying that many films a year, it’s still only 1,200 films - that’s just over a fifth of the movies made every year. And I don’t think there are 100 big distribs out there... I’m not even sure there are as many as 30 distribs of any size. That means distribs can be really picky. And even the artsie distribs on the VSDA panel said it all comes down to what they think the public will buy or rent on DVD. Even artsie distribs have to pay their office rent and power bills.

I think the problem with my friend’s previous 4 films was that they had a target audience (his minority) but weren’t the most entertaining movies that targeted that audience. And that may even explain that crap that does get released on DVD - when you’ve spend 40 hours being abused by “The Man” for lower than average wages and having total strangers hate you for the color of your skin or the person you love or your wheelchair or your religion, do you really want to watch a movie about that? Wouldn’t you rather watch a lesbian vampire movie featuring members of your minority? Or a haunted house movie featuring members of your ethnic minority? Or a monster movie featuring members of your ethnic minority?

So the majority of the 27,000 films submitted to distribs every year get no form of distribution at all, because “The Man” can’t make a buck off them. So my friend is going to make a horror film, because “The Man” can make money on a horror film, and some of that money will trickle down to his investors and his community. Not a bad thing to make some money while showcasing the very talented people in his community.

FROM THE HEART????
The next time we have coffee, he’s telling me how his script is going - but all he talks about is the minority angle. It’s almost as if he’s talking out one of his other 4 films. I ask him if he’s had a chance to listen to my class, yet... he says he hasn’t gotten around to it. That’s okay, he’s writing. Always a good thing to be writing.

A few weeks later we bump into each other and I ask about the script. He tells me he’s almost done, and the good news is that his investors are really excited. They are going to give him more money than he had on his other 4 films, because this one is a winner. I ask about the story, and he gives me the capsule version - and it doesn’t sound like a horror story to me at all. In fact, it sounds like a love story! This is strange. I ask him about the horror scenes - and he describes a scene that doesn’t sound scary at all. It sounds *political*. I ask what horror movies he watched before writing the script. He tells me he started to watch NIGHTMARE ON ELM STREET but turned it off after ten minutes because he thought it was garbage. He didn’t watch *any* horror movies. I ask if he’s ever seen a horror movie before. “Yeah, when I was a kid.” I ask him about that experience - he tells me he used to love movies like that, then he outgrew them. He’s opened his eyes to the world around him and has seen....

When I ask how he knows if he’s making something that even fits in the horror genre, he tells me it doesn’t matter because he’s writing from his heart and being heartfelt and honest is more important than selling out. Wow, we’re back to that.

I ask if anyone *dies* in his script, and the answer is “Of course!” But then he explains how a character who is prejudiced gets thrown in front of a bus and run over. The more he talks about his script, the more it sounds like the slightly more violent version of his other 4 films. But it doesn’t sound anything like a horror film at all (except for a big violent ending that could go either way).

I advise him that potential distributors are “The Man” and will care more about the commercial aspects than the social aspects of his film - so maybe he should grab some horror DVDs and watch them and maybe do a touch-up rewrite on his script (which probably needs a page one), just to fool distribs into buying his finished film. He says he might do that... but I didn’t think he would.

So, a couple of weeks ago I have coffee with him again - he has finished his script and begun pre-production. I ask him a few story questions - and it seems that the story has even less horror, now. The original ending he told me about, that was kind-of-horror, he changed into more love story. I am so confused by this, I ask him about the over-all story again... and it’s morphed into a social-political themed story where a couple of people get killed in ways that don’t sound scary at all. “But, weren’t you trying to make a horror movie?” “This is better.” “What about distribution?” “You can’t know what they want, so why even think about it? This is my best work so far. And, because it’s a horror movie, they’ll probably buy it.”

I would like to have said: But it isn’t a horror movie! though I didn’t. I wished him good luck. There’s a weird rule with friends - you have to be supportive. If this guy was a stranger on a message board I would have called him a moron and explained that he was continuing the same self-destructive patterns he was trying to break by making this film. But you have to wish a friend good luck and offer to crew for him if he needs you.

He didn’t need me. He had a nice budget.

That’s good, because I can’t imagine being on set for this film every day. It would be like watching someone try to kill themselves again and again. There’s this great scene at the end of Roman Polanski’s horror flick THE TENANT where the lead jumps out of the window of his apartment to stop the other tenants from trying to drive him crazy... he hits the pavement in front of the building... and lives! His landlord (who has bat wings) and his super (who has a lizard tongue) try to help him. They want to keep him alive and play with him some more. But he drags his battered body up the steps to jump again! That’s what working on that film would be like - watching someone keep trying to kill themselves over and over again until they got it right. I don’t have the stomach for that. When I see a *stranger* do something stupid like race across a busy street against the light to catch a bus or something, I worry about them. I want to stop them from their self-destructive behavior. I’m sure I would have spent every day on set hinting that maybe a scene with a guy in a hockey mask with a machete might be interesting at this location.

He’s filming right now. He managed to get a couple of known actors in his film - members of his minority group who are supporting the cause (not Snoop - he’s probably doing a *real* horror film). For all I know, this one may find a distrib... but I’m not holding my breath.

This brings our little trilogy of terror to a close. Hope you don’t have any nightmares. I said at the beginning that this was a fable, but I’m not going to tell you the moral to the story - I’ll let you figure that out on your own. You may come up with a different moral, or see these stories in ways that I could never imagine....

Maybe to you, it’s all about the hats.

- Bill

Trailer Tuesday: THE RAVEN

THE RAVEN (1963)

Starring: Vincent Price, Peter Lorre, Boris Karloff, Jack Nicholson.
Written by: Richard Matheson
Directed by: Roger Corman
Produced by: Roger Corman and James H. Nicholson (American International Pictures)

A gallon of comedy mixed in with the horror... which doesn’t quite work.

One of the things that seems to have happened is AIP and Roger Corman discovered there were many other well known horror stars of long ago who were still alive and needed work. So the film in the series before this TALES OF TERROR (which we won’t be looking at in this 13 Days) added Peter Lorre (who had starred in the HITCHCOCK PRESENTS episode MAN FROM THE SOUTH as that fellow who would bet his sleek sportscar in the casino parking lot against Steve McQueen’s little finger) and Basil Rathbone to the cast. That film was a trilogy of Poe stories, with each of the stars playing the lead in one of them, where RAVEN has all of the stars in one story. This film adds FRANKENSTEIN’s Boris Karloff (who was having a career resurrection due to hosting duties on THRILLER) and subtracts Basil Rathbone, but don’t worry - he’ll be back in the next film so he got to keep his SAG medical and dental plan going.

Screenwriter Richard Matheson said that one of the problems with the Poe adaptations is that almost all of the stories dealt with someone being buried before their time, in a wall or a crypt... and it was getting repetitious. So, by adapting Poe’s most famous *poem* they could do just about anything... and Matheson thought with that cast they could try a comedy, just to keep from repeating the dark and spooky old castle stories. But the problem is that the comedy here seems forced - it’s all pratfalls and broad humor. Unlike Corman’s trailer editor at New World Pictures, the awesome Joe Dante, who could easily blend horror and comedy in a film like THE HOWLING and have it be both scary and funny; Corman seems to only focus on the comedy at the expense of the horror - so we get broad comedy but not much that works as horror. This film was a hit, so maybe the audience was ready to laugh at Poe instead of scream... but it doesn’t hold up as well as the earlier entries.



The film opens with Raven poem read by Price with shots of ocean and castle....

In his study, son of a sorcerer Dr. Craven (Vincent Price) “draws” a raven (animated) and then the window blast open and it vanishes. He goes into a room and dusts off Lenore’s coffin - her portrait over it... wham - someone behind him! His daughter Estelle (Olive Sturgess), who wonders why he is still mourning two years after her stepmother died. Craven says that she was his one true love...

Later, a tapping at the window of Craven’s study - a Raven. He lets it in... and the bird begins talking! It’s the smart ass voice of Dr. Bedlo (Peter Lorre) who says he’s under and enchantment and needs to be turned back into his human self because these feather itch! Craven and the Raven go downstairs to his sorcerer father’s dusty old laboratory which is over run with tarantulas (for some reason) and they mix up a concoction (after looking through jars of eyeballs and other icky stuff). The Raven drinks the potion and turns back into Dr. Bedlo... except his arms are still covered with feathers (which itch). Craven says he’ll mix up some more of the potion, but he’s out of one of the ingredients: dead man’s hair... though his father is in the crypt downstairs and he probably wouldn’t mind.

They go down to the crypt, and Dr. Bedlo explains how he was turned into a Raven by the evil Dr. Scarabus (Boris Karloff) - who was Craven’s father’s rival... and took over the Brotherhood of Sorcery. Bedlo was having dinner with Scarabus and they had a dispute... and they ended up doing a “high noon” with sorcery... which Bedlo obviously lost. When Craven opens the coffin and cuts a lock of his dead father’s hair, the corpse grabs him and whispers “Beware!” They get the heck out of there.

After Bedlo has drank more of the potion and shed his feathers, he says he’s going back to Scarabus’ castle to get revenge... would Craven like to come along? When Craven refuses to go, Bedlo says that he has seen Lenore with Scarabus - Craven’s dead wife is two timing him! From beyond the grave! How is that even possible? Craven opens Lenore’s coffin... she’s still there. But maybe Scarabus has her soul? Craven agrees to go with Bedlo to confront master sorcerer Scarabus.

As they are leaving, the door blasts open and Craven’s butler Grimes rushes in with an ax and attacks them - he is under Scarabus’ spell. When he goes after daughter Estelle, Craven uses some magic to knock him out. When he returns too consciousness, he has no memory of what happened. Estelle insists on coming with them, and when the open the door - wham - there’s someone standing on the other side! Dr. Bedlo’s son Rexford (Jack Nicholson) who has come to fetch Bedlo, mom’s wondering where he is. Rexford offers to drive the coach since Grimes is still a little weird. Estelle flirts with Rexford - this is the romantic couple.

On the way there - Rexford becomes under Scarabus’ spell and drives the coach at dangerous speeds on a cliffside road. The spell lifts as they get to Scarabus’ evil castle. All four enter the castle... a much cheaper matte painting than in the other films. That’s okay, because the castle interior set kicks ass... a center fireplace in the massive parlor. This may be the most lavish of all of the castle interior sets in any of the Poe movies. Once inside, the door slams behind them, trapping them in the castle.

Scarabus makes a grand entrance, introducing himself to all of them. A charmer.

When Craven accuses him of imprisoning his wife’s soul in the castle, Scarabus “summons the truth” with his servant’s bell, and his Maid (Connie Wallace) enters - she does look a little like Lenore, but obviously isn’t her. Scarabus invites them to stay for dinner...

At dinner Scarabus claims he was the best friend of Craven’s Father, and only turned Bedlo into a Raven after he challenged him to a duel. Bedlo wants revenge... and his equipment back. Bedlo claims he can easily best Scarabus when he is sober, but Bedlo is never sober. Scarabus magically produces Bedlo’s equipment case and hands it to him to shut him up... but Bedlo grabs his magic wand from the case and tries to cast a spell on Scarabus - but Scarabus makes the wand go limp. When Bedlo tries to use another crazy magic contraption to attack Scarabus, it backfires - exploding Bedlo into a puddle of red goop. Rexford removes his hat to mourn his father... Craven tastes the goop, “Raspberry jam.”

Though everyone wants to leave, a storm is raging outside and Scarabus offers to put them up for the night. Each retires to their room... They decide to leave Bedlo on the floor in a puddle.

Estelle wanders through the castle at night - returning to her room - once inside, a hand grabs her - Rexford. He fears that Scarabus *killed* his father - not the device backfiring. He saw Scarabus moving his fingers slightly just before his father exploded. He fears that was just the beginning... that Scarabus has some evil plan for the rest of them.. Rexford wants Estelle to warn her father, but she says Craven now trusts his late father’s rival. But the door will not open - they are trapped in the room together. Rexford climbs out the window onto a narrow ledge and makes his way around the castle’s walls to the next window... the ledge crumbles beneath his feet at one point and he almost falls to the sea far below.

Meanwhile, Craven hears a noise outside his door... nobody there. But in the window behind him - his dead wife Lenore! (Hazel Court) He rushes to the balcony - but she is gone. Just his imagination?

Scarabus hears a noise and looks up - Lenore enters his bedroom. A ghost? No - the actual Lenore who faked her own death to hook up with the wealthy and powerful Scarabus. That’s not her body in the crypt in Craven’s basement. Scarabus and Lenore are schemers...

Rexford climbs down a vine into a dark room... where he is attacked by someone in the dark! They struggle, until Rexford gets him onto the floor and drags him into the light... it’s Dr. Bedlo - alive and not raspberry jam! Bedlo used magic to fake his death and/or transformation into jam and has been hiding ever since. Bedlo goes to confront Scarabus (and Lenore) and Rexford rescues Estelle and then they go to save Craven... and escape the castle!

Before they can escape, Scarabus uses magic to seal the exit doors, tie up Bedlo, and turn Craven into a statue. They end up in a prison cell in Scarabus’ basement/torture chamber. Lenore visits - telling Craven that she dumped him for Scarabus.

Scarabus begins the night’s festivities - he turns Bedlo back into a raven and he flies away, puts Estelle in a stockade and says he will torture her unless Craven gives up his magic secrets. But Bedlo flies back, pecks through the ropes binding Rexford, so that Rexford can attack the Torture Assistant. Scarabus and Craven end up in kind of a sorcerers Mexican stand off... and Scarabus says the only way to settle this is a high noon style duel to the death!

The big duel to the death: The others watch from a balcony over the massive parlor as Scarabus and Craven practically touch fists in the center of the room before backing step-by-step to a pair of chairs facing each other on opposite sides of the room. They take their seats, and the battle begins! There’s even a Sergio Leone close up of their eyes staring each other down! Each makes things appear to destroy the other, from snakes to bats to cannons to making gargoyles come alive to levitation to throwing fireballs to anything else that can be done with props or cheap animation. Finally we get to the end of the bout when both sorcerers use their fingers to blast magic spells at each other (like laser beams)... and the power of Craven’s magic is stronger than Scaracus’... who collapses onto the floor. Craven has won!

And Lenore rushes into his arms - she has always loved him!

But Craven rejects her, and takes his family home with him as Scarabus’ castle begins burning to the ground and collapsing from the collateral damage hits during the magic duel. They run out of the castle - that terrible matte painting now made even more fake looking by the addition of flames - and ride the coach back home.

In the rubble of the castle, Scarabus and Lenore are alive... but trapped together. Maybe forever.

Back home, Craven gives his blessing to the Rexford/Estelle romance and then refuses to turn Bedlo back into human form. When Bedlo won’t shut up, he seals the Raven’s beak... quote the Raven nevermore.

Fade Out.

Tomorrow we'll look at a more successful comedy horror flick starring Vincent Price and Peter Lorre and Boris Karloff... with Basil Rathbone delivering one of my favorite lines of dialogue! A COMEDY OF TERRORS.

Bill

Fridays With Hitchcock: THE BEAVER? Jerry Mathers on THE TROUBLE WITH HARRY

THE TROUBLE WITH HARRY, like Hitch's MR. & MRS. SMITH, is an unusual film from the "master of suspense" because it is a comedy rather than a thriller. This was Shirley McLaine's very first film, and she played the *lead* - and is great. Jerry Mathers was on old pro with 8 previous credits when he made this film! So let's see what he has to say about the experience of working with Hitchcock and his memories of playing the role of a kid who may or may not have killed Harry with his ray gun...



- Bill

Of course, I have my own books focusing on Hitchcock...

HITCHCOCK: MASTERING SUSPENSE

LEARN SUSPENSE FROM THE MASTER!

Alfred Hitchcock, who directed 52 movies, was known as the “Master Of Suspense”; but what exactly is suspense and how can *we* master it? How does suspense work? How can *we* create “Hitchcockian” suspense scenes in our screenplays, novels, stories and films?

This book uses seventeen of Hitchcock’s films to show the difference between suspense and surprise, how to use “focus objects” to create suspense, the 20 iconic suspense scenes and situations, how plot twists work, using secrets for suspense, how to use Dread (the cousin of suspense) in horror stories, and dozens of other amazing storytelling lessons. From classics like “Strangers On A Train” and “The Birds” and “Vertigo” and “To Catch A Thief” to older films from the British period like “The 39 Steps” and “The Man Who Knew Too Much” to his hits from the silent era like “The Lodger” (about Jack The Ripper), we’ll look at all of the techniques to create suspense!

Films Included: NOTORIOUS, SABOTAGE, STRANGERS ON A TRAIN, THE 39 STEPS, REBECCA, TO CATCH A THIEF, FRENZY, FOREIGN CORRESPONDENT, THE LODGER, THE BIRDS, TORN CURTAIN, SABOTEUR, VERTIGO, THE MAN WHO KNEW TOO MUCH (1934), THE MAN WHO KNEW TOO MUCH (1955), SUSPICION, and NUMBER SEVENTEEN. 17 Great Films!

Only 125,000 words!

Price: $5.99

Click here for more info!

OTHER COUNTRIES:


UK Folks Click Here.

German Folks Click Here.

French Folks Click Here.

Espania Folks Click Here.

Canadian Folks Click Here.

And....

HITCHCOCK: EXPERIMENTS IN TERROR

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HITCHCOCK DID IT FIRST!

We all know that Alfred Hitchcock was the Master Of Suspense, but did you know he was the most *experimental* filmmaker in history?

Contained Thrillers like “Buried”? Serial Protagonists like “Place Beyond The Pines”? Multiple Connecting Stories like “Pulp Fiction”? Same Story Multiple Times like “Run, Lola, Run”? This book focuses on 18 of Hitchcock’s 52 films with wild cinema and story experiments which paved the way for modern films. Almost one hundred different experiments that you may think are recent cinema or story inventions... but some date back to Hitchcock’s *silent* films! We’ll examine these experiments and how they work. Great for film makers, screenwriters, film fans, producers and directors.

Films Examined: “Rear Window”, “Psycho”, “Family Plot”, “Topaz”, “Rope”, “The Wrong Man”, “Easy Virtue”, “Lifeboat”, “Bon Voyage”, “Aventure Malgache”, “Elstree Calling”, “Dial M for Murder”, “Stage Fright”, “Champagne”, “Spellbound”, “I Confess”, and “The Trouble with Harry”, with glances at “Vertigo” and several others.

Professional screenwriter William C. Martell takes you into the world of The Master Of Suspense and shows you the daring experiments that changed cinema. Over 77,000 words.

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