This is a dull movie and kind of pointless, and yet its historical importance is undeniable. The central idea -- taking two successful characters from different franchises and throwing them together -- didn't begin here. But by the same token I think this is where the idea started to appeal to the owners of properties, rather than just to creators. At the same time, similar ideas were being explored in the nascent comic book publishing business, and these days the idea of 'take two characters that you love and make them fight' is a dominant one at the box office.
In purely Frankensteinian terms, this film represents a big change for the Monster. Teaming him up here with the Wolf Man is just the start. Later, Dracula would be added, and the next thing you know the trio become inseparable in the public mind. There are a lot of iterations of this trio, whether as heroes, villains or comic foils. A lot. And it all starts here. ...continue reading "Frankenstein Meets the Wolfman – 1943"
Waves crash on a rocky shore, and Nimoy is telling us about a mysterious massacre. And we're looking at the moai of Rapa Nui, aka the stone heads of Easter Island. And they look pretty damn cool. They look like a bunch of ancient people thought to themselves 'what's the most awesome sort of thing we can make?' and got the answer perfectly right. With their sheer massive size and their features, somehow both impassive and expressive, the moai are made out of awesome. And compressed volcanic ash, but mostly awesome. ...continue reading "In Search Of… S01E17 Easter Island Massacre"
Fridays were the worst days, Laura decided. No, wait. Saturdays were the worst. Not counting Thursdays, obviously. She sighed, and looked at her watch. Only three hours to go. Then she could take off, change into her Voyager costume and go fight some crime.
She grimaced at the thought. She'd never really wanted to be a superhero, but the job had grown on her. Yeah, a lot of it was kind of stupid. That whole alien gorilla thing she'd dealt with the week before… seriously, what had that been about? But sometimes--not always, but sometimes--the people she had to put in prison were very bad people indeed. It made the whole thing seem a little less pointless. ...continue reading "Do It Yourself – Chapter 27: Terror from Tomorrow"
Near Innsbruck, Nimoy tells us, there is a monument to perversity. And we're off to a flying start! A monument to perversity! I wonder what's written on the brass plaque on front? Something saucy, perhaps? But no, we're talking about Castle Ambras in Austria, which contains a collection of portraits of people who were wounded or deformed, and also a portrait of… Vlad Dracula.
Obviously not a Frankenstein movie as such, the Cabinet of Dr Caligari is a classic silent film that has cast a long shadow across the horror genre, and particularly across the Frankenstein subgenre.
I saw Caligari as a pretentious teenager and pretended to like it. I tried to watch it again a couple of years ago, as a pretentious adult, but couldn't get more than ten minutes in. Most recently, I watched it while half asleep on a very long train ride. That's how to do it. The film has a deliberately dreamlike quality to it, and watching it while wide awake takes something away from it. If you're half asleep and slightly depressed, this is the film for you. ...continue reading "Frankenstein and Caligari"
The trouble with being dead, Bruce thought, was that is was really bloody boring.
The problem of boredom didn't seem to bother the other ghosts. Not that there were many ghosts around. He was the only one in the Handy Pavilion, and there were just a few others in the Super Centre. Yet these others all seemed to have a purpose.
Take young Vinnie. Sixteen year old petrol-head. Died when a tire had blown out while he was doing burnouts in the carpark late one night, sending his stolen Mazda crashing into an open stormwater drain. His spectral vehicle could still be seen from time to time, doing doughnuts in the moonlight. ...continue reading "Do It Yourself – Chapter 26: Ghost in the Machine"
We start with a nice, matter-of-fact opening. The who-what-where or Amelia Earhart's final flight. Good, basic journalism, over newsreel images of Earhart, 1930s planes, and the ocean. Solid intro. It's going to get silly after this, isn't it?
Next up is newsreel footage of Earhart's triumphant return to New York after her solo crossing of the Atlantic in 1932. A tickertape parade, how nice! Nimoy shushes while Earhart gives a speech from behind a battery of old-timey radio microphones.
"It is much easier to fly the Atlantic Ocean now, than it was a few years ago," she says. "I expect to be able to do it in my lifetime again. Possibly not as a solo expedition, but in regular trans-Atlantic service, which is inevitable in my lifetime." ...continue reading "In Search Off… S01E15 Amelia Earhart"
It's got Nazis, it's got plunder, it's got treasure hunting. Could be good? Let's find out.
We open on a few minutes of WWII archive footage. WWII. It's nice footage and beautifully narrated, but the TLDR of it is that the Nazis lost the war but didn't have the good manners to put back the stuff they pinched. Then to the studio, where Nimoy talks with righteous relish of the decline of the Third Reich. He explains how senior Nazis like Martin Borman took off with stolen gold and artwork. ...continue reading "In Search Of… S01E14 Nazi Plunder"
"Abhorred monster! Fiend that thou art! The tortures of hell are too mild a vengeance for thy crimes. Wretched devil!" - Mary Shelley, Frankenstein.
"I can't help it. It's the way I'm made." – Herman Munster, The Munsters.
In the generation after World War II, suburban life got to be the big thing in America. That's not just a physical or an economic statement, though it is. Vast new swathes of housing were being built for a new, prosperous class. Rising wages meant the average family could afford a bigger home, and the rise of the automobile meant people could live further from their workplaces.
But as I say, this wasn't just an economic thing, it was a social thing. As more people lived in suburbia, suburbia got to be the place where stories were set. This is particularly true with regard to TV. Upwardly mobile, white suburban dwellers had to own their TVs, and so TVs had to tell stories about white suburban dwellers. Sure, you could still find Lucy in her New York flat, or the stock bumpkins of Petticoat Junction, but mostly it was the comfortable suburban existence of the Cleevers, the Andersons and the Douglasses. And of course, the monsters. ...continue reading "The Munsters are Due on Maple Street"