The Bloody Pit

Universal’s output in 1944 was packed with horror tales and MURDER IN THE BLUE ROOM seems a likely addition to that list of chillers. At least until you realize that a firm 20% of the film’s scant running time is taken up by song & dance numbers! Yes, its another horror comedy with a script that started life as a Ritz Brothers feature, but don’t let that scare you off. The chills may be lacking but the entertainment value is surprisingly high. And there is a ghost enlivening the proceedings. Oh! And a murder as well. 

Troy Guinn and I take a run through this humorous creeper and find ourselves having more fun than expected. The credit for that goes to the talented cast so we spend a lot of time talking about the stars and a few of the amazing bit players as well. Where else other than in this movie are you going to hear actor Ian Wolfe say the word ‘Zut’? The film has several great songs and I include Troy’s favorite tune in the show because it is far too catchy to ignore. We discuss the plot shenanigans and the script’s careful skipping past a subject usually forbidden by the Hays Code. Mention is made of the award-winning career of one of the screenwriters and we point to areas in the dialog where his efforts might be heard. Also, we point the curious to the first English language version of this tale, THE SECRET OF THE BLUE ROOM (1933), as a better source of horror thrills if not toe-tapping fun. This 1944 version might serve as a good pairing with that minor classic but only if we can ever get a better-looking print. Come on, Universal.

If you have any song recommendations from a scary film thebloodypit@gmail.com is where to send them. And let us know what you think of this film and the podcast in general too. Thank you for listening! 

In the Cult Italian Movie category THE VISITOR (1979) stands out for many reasons. It is made up of equal parts science fiction, thriller and religious high strangeness shot through with touches of CARRIE and CLOSE ENCOUNTERS OF THE THIRD KIND. For years it was considered one of the least comprehensible movies ever made but with the restoration of the full running time in 2010 it is now only mildly incomprehensible. Indeed, with enough squinting and reading between the lines it is almost possible to find a narrative thread that only occasionally feels absurd. Ridiculous to the point of silliness THE VISITOR defies rational concepts and logical progression of story. Let some other movie have police investigations that go somewhere or examples of simple cause and effect in human reactions to inexplicable events. This film scoffs at such needless exercises. And don’t get me started on the exploding basketball that everyone ignores!

 
Troy Guinn, Bob Sargent and I (Rod Barnett) are the three intrepid film nuts that stutter-step their way through this Euro-madness. We wrestle this monster to the ground, fight off seagull attacks, ponder the eternal battle between good and evil and marvel at the cast of Hollywood stars the producer conned into being in this thing. What other movie of this type can boast John Huston, Franco Nero (playing a blonde, blue-eyed Jesus), Glenn Ford, Mel Ferrer, Shelly Winters (playing Mary Poppins’ cousin Mary Slappington), Lance Henricksen and an out-of-his-depth Sam Peckinpah? Is this the most bizarre film ever shot in Atlanta? Was the city’s mayor bribed to indulge the film’s production? How many times will we reference A Flock of Seagulls? Is the amazing prop that Troy dubs ‘Switch-Beak’ silly or brilliant? I cannot promise answers but we will at least pose the questions. Lots and lots of questions.

 
If you have anything to say about THE VISITOR or any other film that we’ve covered thebloodypit@gmail.com is the place to send them. We thank you for listening and we’ll be back soon. 

I’m happy to have author David Annandale return to the podcast to talk about low budget genre cinema again! Severin has issued a fantastic Blu-Ray of the film UNKNOWN WORLD (1951) so we use this release to dig into the little-discussed science fiction movie. Often seen in terrible, dark prints in various places around the internet this one deserves more attention, so we were both thrilled that it is now sharp and beautiful in its black & white HD glory. Did it look this good in ’51?

For a film produced by a couple of special effects artists UNKNOWN WORLD certainly has a lot on its mind. It is one of the earliest examples of apocalyptic nuclear ‘doom warning’ movies and we wonder if that fact is why it is less well known than later movies of this type. We discuss the cast and crew of this nine-day wonder including the oddity of the primary actor not getting screen credit. We lament the very few acting roles of the female lead and ramble through the credits of several other actors as well. We point out the solid effects work and marvel over the fantastic matte shots. Of course, we do acknowledge the weaknesses of the film and how its (intentionally?) dull middle segment can make the running time seem longer than it actually is. So, strap yourself in the Cyclotram and lets go caving!

If you have anything to say about this film or any others that we have covered thebloodypit@gmail.com is the place to send them. We thank you for listening and we’ll be back soon. 

The show returns to the science fiction films of the 1970’s with author Randy Fox! This time out we tackle DAMNATION ALLEY (1877) and make a sad discovery – neither of us like the film. Generally, I don’t enjoy podcasting about films I’m not enthusiastic about but we explain how this episode came to be. Word to the wise – communication is key!

 
Anyway. We dig into the production of the film and go back to the source story from Roger Zelazny to compare page to screen. Spoiler alert – page wins. But we take note of the various films that seem directly inspired by Zelazny’s tale and relate ways that this movie could have benefited from sticking closer to the story as written. We discuss the slashing of the budget and the commensurate drop in special effects quality. Neither Randy or I like one of the lead actors which is always a problem for entertainment value. Couple this with excellent character actors dying far too soon, as well as the female lead being given nothing to do and the printed version of this tale looks better all the time. No matter that the producers thought, a futuristic Convoy was not what the public wanted.

 
If you like DAMNATION ALLEY, by all means, let us know why at thebloodypit@gmail.com – we are curious. Thank you for listening and we’ll be back soon. 

Troy and I return to the Inner Sanctum movies for the third in the series. DEAD MAN’S EYES (1944) presents us with Lon Chaney Jr. as a painter this time but he is once again involved in a low-simmering romantic triangle. There is hope for all of us, huh? A terrible accident renders him blind and in need of replacement corneas. Soon, a convenient murder is committed and we start to examine the small cast to figure out whodunnit.

We dig into the cast and praise their work – for the most part. Troy puts forth an excellent alternate scenario that might have made the film more interesting while I complain that the first thirty minutes of the film plays like a tragic romance drama. Of course, once the corpse hits the floor things perk up with Thomas Gomez sliding into place as the police detective trying to find the killer. We wonder what director Reginald Le Borg thought of having to once again put Acquanetta through her stiff paces. And we debate the mystery the film is built around, arguing its merits and imagining different options.

If you have any comments about the Inner Sanctum films or anything else we might have touched on, thebloodypit@gmail.com is the place to send them. Thanks for listening!

Our second episode focused on the films of Stuart Gordon brings us to FROM BEYOND (1986). Troy Guinn joins John Hudson and I as we flip on the Resonator to see the unseen, squishy horrors hiding in the dark. The uncut version of the film has only been widely available since the 2007 DVD release and we discuss some of the things that were spit onto the cutting room floor.

The film sports a fantastic cast with Barbara Crampton and Jeffery Combs returning from REANIMATOR with the addition of Ken Foree they form a crime investigation team that gets far more than sane people are ready to accept. We examine the film’s story structure and the clever scripting that allows for escalating weirdness without compromising the characters. The wild cinematography is discussed as is the use of colored lighting to represent the shift into visions of the hidden monsters all around us. We talk a little about the film’s production as well as our reactions to the movie across the years. Hold onto your pineal glands and step into the attic with us, won’t you!

If you have anything to say about this film or any others that we have covered thebloodypit@gmail.com is the place to send them. We thank you for listening and we’ll be back soon.

I may have bitten off more than I can chew!

I am joined by a pair of Marks – Mark Maddox and Mark Clark – to discuss STAR TREK: THE ANIMATED SERIES. Since episodes with either of them alone can stretch to more than two hours, putting them together with a subject this big was clearly tempting fate. We survive the show but this is easily the longest episode of The Bloody Pit ever! It might be best to listen to it in chunks.

We dig into the Star Trek Animated Series and talk a bit about all twenty-two episodes. After some confusion we use the original broadcast order and give our thoughts on each one. This takes time and I complicated things by rereading the Alan Dean Foster Log Books for several of the stories. This means I can’t stop myself from dropping in details that were used to flesh out the 22-minute shows until both Marks request that I stop. Rude! But then I bring up Spock Must Die by James Blish and Maddox gets reeled into the book-talk like the sucker he is! Before things are over we have chosen our favorite and least favorites from the series and pulled a couple of episodes apart looking for the tasty bits. If you listen carefully you will hear the moment we realize that this show will be far too long. You can also hear the individual moments when each of us gets our second wind and press on through the second season. You might also hear weeping. You have been warned.

If you have any comments or sympathy for me thebloodypit@gmail.com is the place to send them. The plan is to get another episode out in a few weeks so keep your fingers crossed. And thank you for listening!

We take a trip to Vienna to see what Boris Karloff looks like in color! Or is that colour?

Troy and I discuss THE CLIMAX (1944), Universal’s attempt to craft a follow-up to their 1943 hit remake of THE PHANTOM OF THE OPERA. They took a 1909 stage play, grafted on some Phantom elements and used the same sets from the previous year’s film to create a beautiful looking final product. They even carried over some of the cast in similar roles. But did they make a good movie?

We dig into the things we like and dislike about this often overlooked entry in the horror films of the 1940’s. Both of us marvel at the opulent sets while being impressed by Susanna Foster’s singing talents while wondering about the movie’s running time. We examine some of our favorite cast members including Gale Sondergaard and Thomas Gomez. The multiple audiences that the film was trying to appeal to comes under scrutiny as we lament the fact that the horror portion of the mix seems to get little attention. Sometimes striving for broad appeal results in a work that pleases no one. As the episode goes on we give voice to our many questions about the story’s details that require an almost supernatural suspension of disbelief.

If you have any comments about THE CLIMAX thebloodypit@gmail.com is the address. If you want to hear me ramble on about movies and media even more my Patreon page is active. Thank you for listening!

 

At long last Mark Maddox returns as we wrap up our look at the first six Star Trek feature films with STAR TREK VI: THE UNDISCOVERED COUNTRY. Since this is the last movie to showcase the entire original cast, we take the opportunity to mention how happy we are that VI was the film they went out on and that everyone gets chances to shine. I’m just thrilled we finally get Captain Sulu!

We discuss the production push to get this into theaters to coincide with the 25th anniversary of the premiere of the TV show. We praise the return of Nicholas Meyer to the director’s chair and point out the many touches that seem to stem from his involvement. This includes the joy of having the Wold Newton family tree brought into onscreen Star Trek, which is probably peak geekiness. The intricate nature of the film’s plot comes under scrutiny with us listing the various elements that are woven together perfectly to move the story forward. We discuss the dialog with a few clips to give a taste of the intelligence of the script. Our admiration for the performances gets plenty of time and we single out Christopher Plummer’s fantastic turn as Klingon General Chang. Just how much Shakespeare can be wedged into a Trek film, anyway? And is Chang the series’ best villain? Others may disagree with us but we make our case.

 
If you have anything to add to the show thebloodypit@gmail.com is the place to write. We love hearing from you and if you want to work ahead it looks like we will be talking about the Star Trek animated series in the future. Thank you for listening and we’ll be back soon. 

This episode is the second part of my discussion of the films of Richard Cuhna with author Mark Clark. We focus on FRANKENSTEIN’S DAUGHTER and MISSILE TO THE MOON (1958) before we ramble off into talking about the Planet of the Apes franchise. Staying on topic is difficult for both of us!

The cast of FRANKENSTEIN’S DAUGHTER (1958) is examined with lots of love directed at the amazingly villainous Donald Murphy as a descendant of grandaddy Frankenstein. One could only imagine what his character might have accomplished if he could gain some control over his libido. We look at the various funding methods used by mad scientists and the ways that suburban homeowners can somehow forget entire areas of their house exist! We also lament the lack of Jack Pierce’s contributions to the monster makeup and wish he could have returned after his work on GIANT FROM THE UNKNOWN as the film’s monster look is oddly non-gender specific. As a science fiction/horror tale, the movie actually has a very rare pair of competent police officers, although their detective skills don’t mean they will live through the investigation.

 
When our conversation turns to MISSILE TO THE MOON (1958) we praise the excellent rock monsters and a few of the performances but struggle to find more to love. Perhaps shifting from original screenplays to remaking a not very good film wasn’t the best idea for Cunha and his collaborators. Still, there are things to enjoy in the movie, especially if you have a soft-spot for 50’s science fiction tales told with more enthusiasm than fidelity to reality.

 
If you have any thoughts about the four genre films directed by Richard Cunha thebloodypit@gmail.com is where to send them. We both love these movies and return to them regularly. With some luck the missing two can be rescued from YouTube by an enterprising Blu-Ray company soon.