'The Devil's Daughter' is short, but feels long

The Devil's Daughter (1939)
Starring: Nina Mae McKinney, Ida James, Emmett Wallace, Hamtree Harrington, Jack Carter, and Willa Mae Lang
Director: Arthur Leonard
Rating: Three of Ten Stars

Sylvia Walton (James) returns from the United States to Haiti after a long absence when she inherits her father's banana plantation. Her disinherited half-sister Isabelle (McKinney), who managed the plantation for several years, has vanished without a trace, and Sylvia is desperate to find her, to offer her a fair share of the inheritance. Meanwhile, two rival suitors vie (Carter and Wallace) vie for Sylvia's attention and mysterious voodoo drums are heard from the depths of the jungle... where a vengeful Isabelle plots to regain all of what she considers rightfully hers.

"The Devil's Daughter" barely runs barely 50 minutes, but it feels much longer than that. A melodrama with horror overtones--very faint overtones, as the film repeatedly makes the point that the voodoo rituals are just hoaxes to drive off Sylvia and her dippy manservant Percy (Harrington)--about a quarter of the running time is wasted on a lame subplot involving the unfunny comic relief character trying to protect his soul from voodoo spirits and later to save his boss and her sister from a crooked plantation foreman. The film is further doomed by the fact that it features some of the worst dialogue I've ever seen outside of fiction written by grade schoolers, and acting styles that were passe in films in early 1932. In fact, every thing about this movie almost everything about this movie is stilted and stagy, even during the one scene where a little cinematic energy finally creeps in.

This is a film that's primarily of historical interest. It's an example of the movies produced during the early part of the 20th century for the 700 or so movie theaters that catered to Black audiences during America's period of Segregation. It's interesting to note that the same sort of characters that get slagged as racist in movies from the same period made for general audiences can be found in this film as well, specifically the bug-eyed superstitious servant character that Mantan Moreland made his signature. In fact, the only difference between characters portrayed by Moreland and the character of Percy in this film is that Percy is fundamentally unsympathetic. (And I'm not sure he was intended to be viewed as such by the filmmakers; I suspect he was intended to be a lovable, if not very bright, rogue, but to my eyes he was an obnoxious jerk who first tried to take advantage of what he considered to be backwards islanders, only to have the tables turned on him. The cultural and political tensions between the "cultured" daughter and her servant and the "native" daughter and her supporters lends a little bit of interesting flavor to the film, but it's not enough to make up for its shortcomings and outmoded style.

Although this is a film that history has left behind in every conceivable way, the climactic voodoo sequence is a nice pay-off for sitting through it. The song performed is catchy, and a little bit of cinematic life finally finds its way into the proceedings. The scene also showcases the screen presence of Nina Mae McKinney, a talented and charismatic singer actress who was not fated for screen-stardom.

If you want to get a taste of the "race films" from the 1930s, this isn't a bad place to start. If you're looking for a look at classic voodoo-oriented horror films, you're better off with "White Zombie", "I Walked With a Zombie", or even "King of the Zombies".

'The Moth' is not worth catching

The Moth (1934)
Starring: Sally O'Neil, Paul Page, Wilfred Lucas, Rae Dagget, Fred Kelsey, and Duncan Renaldo
Director: Fred C. Newmeyer
Rating: Four of Ten Stars

Wild-child heiress Diane Wyman (O'Neil) loses her fortune when her guardian (Lucas) invokes a morality clause in her father's will following one media scandal too many. The lecherous old man helped engineered the scandal, hoping to force her completely under his power, but she runs off to New Orleans, where she naively falls in with a pair of jewel thieves (Dagget and Renaldo). The thieves pretend to be her friends, but they are just setting her up to take the fall for their latest heist and make a detective who has pursued them from New York that the disgraced socialite is actually the mysterious jewel thief known as "The Moth." Will George (Page), the handsome engineer who has become infatuated with her, manage to save Diane from the many sinister forces arrayed against her?

"The Moth" is an almost inappropriately light-hearted movie, given the fairly vile characters that are set to destroy the naive young woman who is its focal character, be it the dirty old man who is supposed to be looking out for her best interests but really just wants to possess her; or the cold-hearted thieves, who take advantage of her to cover their escape. Of course, given that it's so sloppily written movie that relies on coincidence after coincidence to keep the plot going, fails to be funny in most places where it's supposed to be, and the straight-forwardness of the plot makes the build-up of suspense nearly non-existent, it's hard to tell if its creators failed to make a drama or created one of the least funny comedies ever made.

The film is especially unfunny in the sense that the disgusting character who is Diane's guardian is supposed to be comic relief, and the screen writers and director blow both their key moments of suspense--when it looks like Diane is going to be caught with the stolen jewels, and when one of the thieves wants to turn to murder to insure his get-away--by introducing the threats and disposing of them before the audience even has time to grow concerned about them. It's rare to find a movie as brief as this one where the pacing is off, but that is the major flaw here.

Another flaw is the directing and the acting, both of which were more suitable to the silent movies where the director and much of the cast got their starts. While it's easy to see why the very pretty Sally O'Neil was a big star, it's equally easy to understand why she couldn't make a successful transition to the talkies. While she had charisma and beauty, she had an acting style more suitable for theatre or the always larger-than-life pantomimes needed to convey action and emotion in silent films. By 1937, her screen career was over, and O'Neil returned to theatre where her career had started.

Despite my criticism of her performance, O'Neil and her character of Diane Wyman are the only thing that makes this movie worth watching. She is by far the most interesting performer in the film, and even the most cynical viewer will want this likable, if none-to-bright, character to somehow recognize that the only person around who cares at all for her well-being is George, the one person she keeps pushing away and abusing.

Still, this is not a movie that's really worth seeking out. It's one of those films that's been from oblivion and once again put in front of the public by the advent of digital media and the relative ease of manufacturing DVDs, but unlike so many hidden treasures found in the Alpha Video catalogue, I doubt anyone would have missed "The Moth" had vanished forever. (Although I must congratulate the art department at Alpha Video for coming up with a cover design far more interesting than the movie; it was the cover alone that prompted me to buy the disc. It's got nothing at all to do with the movie, but it's pretty cool... almost like the days of the exploitation films where the crappier the movie, the more exciting the poster. The Roger Corman Marketing Team Spirit is alive and well in DVD Land!)

'The Mystery Train' deserves attention

The Mystery Train (1931)
Starring: Marceline Day, Hedda Hopper, Nick Stuart, Al Cooke, Carol Tevis, and Bryant Washburn
Director: Phil Whitman
Rating: Seven of Ten Stars

Sociopathic socialite Marion Radcliffe (Hopper) helps Joan (Day), a beautiful convicted criminal, escape from custody and makes her part of an elaborate scheme to force her to marry millionaire bachelor Ronald Stanthorpe (Stuart). Marion hopes to gain control of Ronald's fortune to replace her own lost fortune, but her plans start to unravel when Joan and Ronald truly fall in love, and it turns out that Joan was actually framed for her supposed crime and the authorities are not seeking her to put in her prison but to exonerate her.

"The Mystery Train" is an intrigue- and action-packed tale that packs more romance, comedy, and suspense into its 62-minute running time than many movies with twice the length manage to offer. The script is tight and lean, with not a scrap of padding in evidence as its characters move through the effectively paced and well-filmed scenes and story twists involving a train wreck, blackmail, cat-and-mouse with police detectives, stolen jewels... all of it leading to a suspenseful climax on a runaway, decoupled passenger train car that is carrying both heroes and villains to a certain doom.

Hedda Hopper does a nice job playing the vicious, scheming Radcliffe and Marceline Day is perfect as the innocent girl she is trying to use as her way back to unlimited wealth. Nick Stuart is a notch above the usual male leads in films like this, coming across as likable and charming rather than annoying or bland as is typical. The comic relief has even held up better to the passage of time than that in most B-movies of this vintage, with Al Cooke and Carol Tevis playing a pair of train-riding, barely newlyweds whose marriage is already on the rocks.

But this film isn't as good as it is just because because of the talented cast being served by a well-written script. Unlike many other films from this period set on trains, some effort was actually made by the director and effects people to make it seem like the actors are actually onboard a train. Using sound and motion, and even some unsteady steps as actors move through hallways, laudable and successful attempts to create the illusion of being on a moving train are made.

All in all, "The Mystery Train" is one of the many movies from the early days of talkies that doesn't deserve the obscurity it fell into. I recommend it to lovers of classic detective stories and dramas.

Still the best mummy film nearly 80 years later

The Mummy (1932)
Starring: Boris Karloff, Zita Johann, David Manners, and Edward Van Sloan
Director: Karl Freund
Rating: Eight of Ten Stars

After an archeologist accidentally restores him to life, a cursed ancient Egyptian high priest Imhotep (Karloff) sets about likewise reviving Princess Anckesen-Amon for whom he gave up everything so they can resume their forbidden love. Unfortunately, she has been reincarnated, and her spirit is currently residing within Helen Grosvenor (Johann), the daughter of a British diplomat. Imhotep hasn't let the natural order of things stop him in the past, and he's not about to let it get in his way now.

"The Mummy" is perhaps the best, most intelligent mummy movie ever made. It's more of a gothic romance story set in Egyptian surroundings than a monster movie, with Imphotep trying to recapture a love that he lost 3,700 years ago.

The actors in this film are all perfectly cast, and they are all at the top of their game.

Karloff is spectacular, conveying evil, alieness, majesty, and even a little bit of tragedy in his character with a minimum of movement. (Unlike most mummy movies, Imhotep isn't a bandage-wrapped, shambling creature, but instead appears like a normal human being; he is still dried-out and somewhat fragile physically, though, and Karloff does a fantastic job at conveying this.)

Johann likewise gives a spectacular performance, particularly toward the end of the movie as Imhotep is preparing to make her his eternal bride and she has regained much of her memories from when she Anckesen-Amon. Johann is also just great to look at.


The two remaining stars, Manners and Van Sloan, are better here than anything else I've seen them in. Manners in particular gives a fine performance, rising well above the usual milquetoast, Generic Handsome Hero he usually seems to be. (Even in "Dracula" he comes across as dull. Not so here.)

The cinematography is excellent and the lighting is masterfully done in each scene. Karloff's character is twice as spooky in several scenes due to some almost subliminal effects caused by lighting changes from a medium shot of Manners to a close-up of Karloff... and the scene where Imhotep is going to forcibly turn Helen Grosvener into an undead like himself is made even more dramatic by the shadows playing on the wall behind the two characters.

There are some parts of the film that are muddled, partly due to scenes that were cut from the final release verson, or never filmed. Worst of these is when Imhotep is interrupted during his first attempt at reviving Anckesen-Amon, and he kills a security guard with magic during his escape. However, he leaves behind the spell scroll that he needs for the ritual. Why did he do that? It's a jarring, nonsensical part of the movie that seems to serve no purpose other than to bring Imhotep into direct confrontation with the heroes. (The commentary track on the version of "The Mummy" featured in Universal's "The Mummy Legacy Collection" sheds light on what the INTENTION was with that devolpment, but it just seems sloppy and badly conceived when watching the movie.)

While "The Mummy" may seem a bit slow to people who are used to Brandon Fraser dodging monsters--or even the Hammer mummy movies--it is a film that every cinema buff should see and even add to their personal movie collection. (There are at least three different DVD editions of the film available for sale as of this writing. However, the best value for your dollar is to pick up Universal's "The Mummy: The Legacy Collection". You'll get "The Mummy" with an excellent and very informative commentary track, as well as a bonus disk with the four mummy movies that Universal released in the 1940s. You can read more about the set at Amazon.com by clicking on the link below.)

Karloff is 'The Man Who Changed His Mind'

The Man Who Changed His Mind (aka "Body Switch", "Doctor Maniac", and "The Man Who Lived Again") (1936)
Starring: Boris Karloff, Anna Lee, John Loder, Donald Calthorp, and Frank Cellier
Director: Robert Stevenson
Rating: Nine of Ten Stars

Dr. Laurence (Karloff) devises a method to switch the intangible elements that makes up a being's mind from one body to another, but snaps when he is mocked by the scientific establishment and a rich newspaper publisher (Cellier) pulls his patronage for the doctor's research. He decides to use his method for his own gain, up to and including switching bodies with the son of his former patron (Loder) so he can marry the beautiful and intelligent Dr. Clare Wyatt (Lee).

"The Man Who Changed His Mind" is perhaps one of the most intense horror films from the 1930s that I've come across. From the first time Boris Karloff's chain-smoking mad scientist crosses paths with Anna Lee's brilliant and independent-minded surgeon, you know things are going to end badly for more than one of the film's characters. But even with that knowledge, you're not going to guess how badly and for whom until the story is all but done unfolding. Even after nearly 75 years, this is a horror film that countless modern-day filmmakers need to study and emulate' their films would be far better for it.

The film is driven by a tight, expertly paced script that presents just the right mixture of horror and humor to make both aspects as effective as possible, especially given that most of the humor is of a pitch-black variety. The cast is also excellent and everyone is perfect for their parts and talented enough to bring depth to even the thinnest of characters. Dr. Laurence's assistant Clayton could easily have been just an obnoxious and unpleasant jerk, but Donald Calthorp brings enough humanity to the role that the viewer had a little empathy for him. The same is true even of John Loder's character who belongs to that most loathsome of 1930s comic relief characters--the wise-cracking, corner-cutting reporter; the superior script and dialogue makes even that character type bearable, and the viewer will actually fear for him when he becomes a target of Laurence instead of cheering the villain onward to success just to shut him up.

But the film's coolest--and most chillingly unexpected-- scenes is the one where Dr. Wyatt takes on the mantle of "mad scientist". The lighting, editing, and superior acting talent of Anna Lee all add up to the character going to a dark place that few heroic characters go even in the nihilistic modern horror movies.

There is a hard coldness on her face and in her eyes that would have made even the mad Dr. Laurence shiver in fear, as she works switches and buttons on the mind-switching contraption. It's a performance that puts to shame even the one that I until now considered Lee's best--her turn as another strong-willed woman in Bedlam (review here, at the Boris Karloff Collection). It truly is one of the greatest moments in horror films, and I don't understand why more critics who fancy themselves experts in Great Cinema don't include it on their lists of "Top Fifty Horror Moments." Heck, it might even belong in the Top Ten!

"The Man Who Changed His Mind" is one of the many under-appreciated films from the early days of the horror genre. It is superior to a number of the more famous movies--including the ones from Universal that everyone has seen--and I encourage anyone who hasn't seen it to give it a try.

It's all very Russian...

The Drums of Jeopardy (1931)
Starring: Warner Oland, June Collyer, Lloyd Hughes, Hale Hamilton, Wallace MacDonald, Clara Blandick, and Mischa Auer
Director: George B. Seitz
Rating: Seven of Ten Stars

When one of the men of the Petrov family makes his daugher pregnant, dumps her, and causes her to commit suicide, but then won't own up to his misdeed, Dr. Boris Karlov (Oland) sets out to gain revenge by seeing them all dead. He persues them halfway around the world, to America, where a secret service agent (Hamilton) and a feisty young American woman (Collyer) end up in the middle of this Russian struggle for survival and revenge.


"Drums of Jeopardy" is a nifty little thriller from the early takes of talkies that's jam-packed with meldodrama, action, and humor. Its fast-paced script hardly gives the viewers a chance to realize that just about everything in this film has become almost painfully cliche in the nearly eighty years since its original release, nor does it pause long enough to really let us consider how outrageous and dimwitted the "brilliant" plan of the Federal Agents who match wits with Karlov is. We're too busy hating the slimy Russian nobleman Prince Gregor (Wallace MacDonald) who not only impregnated and dumped a poor girl, refuses to live up to what he's done and ultimately tries to sell out everyone else to save his own skin; admiring the beauty of the resourceful young Kitty Connover (June Collyer), snickering at the comic relief provided by her sharp-tongued aunt (Clara Blandick), and grinning with sinister glee as Dr. Karlov delivers zingers and pulls tricks on the good guys that allows him to take a place among the great villains of movie history 's zingers as his evil plans fall into place (an honor deserved in no small part due to an excellent performance by character actor Warner Oland who is best remembered or playing Charlie Chan and for his role in "Werewolf of London").

Another remarkable aspect of this film that sets it apart from many of its contemporaries is that it has a villain that the viewer can relate to. His daughter was violated and tossed aside by the Petrovs, so, given that this is a melodramatic thriller and we're talking about Russians here, it's only natural he'd take elaborate and final revenge against not only the Petrovs but Russian nobility in general. Karlov is a character who is almost like a tragic hero in his stature within this film and he is must more interesting than most film villains from the early days of film.

I should note that as much as I enjoyed this film, I was a little dissapointed in some apsects of how the story unfolded. I've already commented on the moronic nature of the government agents in the film, but a bigger dissapointment was that Karlov didn't really get his full revenge and we don't get to see that rat bastard Gregor die a slow and painful death. (That alone makes me wish for a remake of this movie. I'd love to see Tim Thomerson as Karlov!)

Speaking of Karlov... yes, the villain of this movie is named Boris Karlov. Given that this film is based on an American novel that was originally published in 1920, I think we can chalk this up to one of those weird coincidences. Karloff was an obscure stage actor touring Canadian backwaters at the time the book was written. (Although at least one source claims that Karloff chose his screen name because of the novel.)

'Trapped by Television' is an outdated techno-thriller

Trapped By Television (1936)
Starring: Mary Astor, Nat Pendleton, and Lyle Talbot
Director: Del Lord
Rating: Eight of Ten Stars

Want to see what contemporary techno-thrillers will look like to your grandchildren? Take a look at "Trapped By Television" and you'll get an insight into the future, as this action-comedy revolves around the latest, greatest, cutting-edge technology of 1936... TELEVISION!

In "Trapped by Television", a techno-geek bill collector (Pendleton) is sent to repo some equipment from a deadbeat (Talbot). The deadbeat turns out to be an inventor who has created the perfect television recording/broadcasting device, so instead of doing the repo job, the bill collector becomes the inventor's assistant, hooks him up with a couple of spunky (if crooked) promoters (led by Astor), and sets him on the path to selling his invention with a major broadcast company that has been attempting to develope their own television device.


Unfortunately, standing between the scientist and his roguish companions are a group of violent techno-thieves who have stolen some designs the broadcast company was developing and intend to sell them back to the company at a huge profit. Will our intrepid heroes gain fame and fortune and advance the technology of entertainment, or will television be their death trap?

"Trapped By Television" features a sharp script, likable characters, and some nice acting. It's fun watch, and it is a great illustration of how much things have changed in our world in 75 years.

It's a fun viewing experience on several different levels, and I recommend it very highly... assuming you can get yourself in a mindset that has television broadcasts as something new and exciting.

(A review of this movie also appears in the "Creaky Classics" chapter of 150 Movies You Should Die Before You See. It contains additional details and trivia about the film and actors appearing in it. It's one of the films included that I enjoy, but that I know many others will not.)

Perhaps the butler actually did it this time!

Sinister Hands (1932)
Starring: Jack Mulhall, Crauford Kent, Mischa Auer, Phyllis Barrington, Louis Nathaeux, Gertie Messinger, Fletcher Norton, Phillips Smalley, Lillian West, and James P. Burtis
Director: Armand Shaefer
Rating: Five of Ten Stars

A millionaire is murdered at a seance where EVERYONE (including the bulter) could have done it, and had reason to do it. It's up to homicide detective Herbert Devlin (Muhall) to sort through the suspicious characters and find the killer.


"Sinister Hands" is a decent little mystery that plays like an outline of an Agatha Christie novel. The first half sets up the future victim and all the people with reasons to kill him, and the second half is devoted mostly the detective interrogating the suspects as he tries to discover who did it, or trick the killer into revealing him- or herself.

There will be no great surprises in this film if you pay attention as it unfolds and if you've read/seen at least two or three other detective movies. (In fact, one of the things I found most interesting is completely trivial and not even related directly to the movie. It appeared that the characters were wearing unisex bathing suits at the pool party scene. I'd never noticed that men and women's swimwear was that close in style and appearance during the late 1920s and early 1930s. I also found it noteworthy that one of the suspects is a fake spiritualist named Yomurda. With a name like that, he can't possibly be the killer, can he? :D )

This is an entertaining little mystery film that is probably only of interest to big fans of the genre (like me) or those with a deep love of low-budget films from this era (which I also qualify as). It might also be a suitable second feature for a Bad Movie Night, because, while not exactly a bad movie, it is a film that time has passed by and which can give rise to much levity in the right company.

Nancy Drew turns into a manipulative beech

Nancy Drew and the Hidden Staircase (1939)
Starring: Bonita Granville, Frankie Thomas, John Litel, Louise Carter, Vera Lewis and Frank Orth
Director: William Clemens
Rating: Six of Ten Stars

Teen detective Nancy Drew (Granville) swings into action when she comes to the conclusion that someone is trying to drive two little old ladies (Carner and Lewis) from their home by terrorizing them. The murder of their driver ups the stakes significantly, particularly since Police Captain Tweedy (Orth) becomes convinced the sisters killed him.


"Nancy Drew and the Hidden Staircase" is the fourth and final mystery film based on the popular juvenile mysteries for girls. Like the previous installments, I have the sense that the characters here aren't behaving at all like the ones in the books--Nancy Drew is supposed to be the living embodiment of charm, poise and self-possession, as well as being so smart and skilled that she can run circles around any adult and take on any challenge in order to solve a mystery and bring culprit's to justice. But that's not at all the character we have here, nor in other three films in the series.

The Nancy Drew in this film succeeds by being manipulative and deceitful... and by having a strange ability to convince her friend Ted (Frankie Thomas) to do anything she asks. Although by the end of this movie, during which she ends up getting Ted humiliated in front of much of the town because he ends up women's clothing, gets him fired from his summer job, and gets him dragged off to jail for evidence tampering, I can only assume that Nancy must be a "friend with benefits" (and she must be REALLY good at delivering those benefits) if he is to continue to put up with her and the trouble she gets him into. Nancy may be having fun and solving crimes, but Ted seems to be the one paying the price.

In fact, by the end of this film, the only thing that will keep Ted out of jail for real is the probable fact that Captain Tweedy (Frank Orth) is so inept that Nancy's father Carson (John Litle) probably has 90% of his practice built around suing him and the police department for defamation of character and wrongful imprisonment and that Ted will walk for that reason alone.

Like "Nancy Drew: Trouble Shooter", the film immediately preceding this one in the series, watching it evoked memories of reading juvenile mysteries back when I was a kid. The last half-hour in particular felt very much like the climax of those books. However, if they had plots as simplistic as this--what we have here is essentially a mystery with only one viable suspect--I like to think I wouldn't have enjoyed them as much.

Still, the film's old-fashioned charm, excellent performances by everyone in the cast--with Granville and Thomas being especially good--and an exciting conclusion makes it very fun to watch. (It also provides a window into life in America 70 years ago... a place where icemen delivered ice for literal "ice boxes" in homes, for example. Ted's summer job as an iceman plays a prominent part in the storyline.)

What is the deadly secret of the 13th guest?

The Thirteenth Guest (aka "Lady Beware") (1932)
Starring: Lyle Talbot, Ginger Rogers, and J. Farrell MacDonald
Director: Albert Ray
Rating: Six of Ten Stars

When Marie (Rogers), the young heiress to the Morgan fortune, is found mysteriously electrocuted in the family manor that has remained sealed since her father died during a dinner party 13 years prior, Police Captain Ryan (MacDonald) calls upon the assistance of playboy criminologist Phil Winston (Talbot) to help solve the baffling murder. Before Winston can even begin to investigate, the mystery takes an even stranger turn: The dead girl turns up alive and in police custody for car theft... and soon there's a second dead body at the old Morgan place.


"The Thirteenth Guest" is a pretty good little mystery movie for most of its running time. The three lead actors all give decent performances that are in line with what is to be expected from one of these "who-dunnit in the dark, old house" mysteries, and the murderer had a fairly clever set-up with which to commit the murder. There are also just enough plausible suspects and clever plot-twists make it real mystery film.

Unfortunately, for every clever twist there's a plot logic-hole that a truck could be driven through. Equally unfortunate is the presence of a truly lame comic relief character. And I won't even dignify the idiotic mask and cape they have the murderer prance around in with comment. (Hang on... did I just comment on the idiotic mask and cape? Curses!)

The good parts outweigh the bad parts--but only barely--in "The Thirteenth Guest." It's not a film I recommend you rush out to find a copy of, but if you're looking around for a little something to round out a "home film-festival" selection of mystery movies, this might be what you're looking for. Just don't make it the main attraction.

'Revolt of the Zombies' is a non-event

(I like the poster though.)

Revolt of the Zombies (1936)
Starring: Dean Jagger and Dorothy Stone
Director: Victor Halperin
Rating: Two of Ten Stars

At the height of World War I, a French officer (Jagger) brings to his generals the ultimate weapon: the secret to creating impervious zombie soldiers! Unfortunately, before the Cambodian monk can be made to share this secret with the Europeans, he is murdered by a sinister enemy agent. A military expedition is sent to the darkest heart of Cambodia's jungles to see if the secret can be recovered.

"Revolt of the Zombies" actually has a really interesting plot at its heart. Too bad the filmmakers completely botched this movie, with awful dialogue and pacing that is at once too slow and too fast--important events happen off-screen and are then relayed to the viewers by the characters in boring exposition. Worse, the movie ultimately chickens out in regards to both its use of zombies in the story AND in regards to what seemed to have been its message about the negative impact of European colonialism with an "absolute power corrupts absolutely." What's more... there ain't no damn zombie revolt in the film (but that's because there aren't any real zombies, either).

I probably would have shrugged my shoulders at this one--it's just another low-budget, crappy horror film--but it was made as a follow-up to the fabulous "White Zombie." I expected more of "Revolt of the Zombies" because "White Zombie" is a dyed-in-the-wool classic horror film, one of the best zombie movies ever made (and perhaps even the *first* zombie movie ever made), and it was as low-budget as "Revolt."





Click here to read my review of "White Zombie" at The Bela Lugosi Collection.

Nancy Drew: Trouble-shooter or Trouble-maker?

Nancy Drew: Trouble Shooter (1938)
Starring: Bonita Granville, Frankie Thomas, John Litel, Eville Alderson, Charlotte Wynters, Willie Best and Aldrich Bowker
Director: William Clemens
Rating: Six of Ten Stars

When a family friend (Bowker) is accused of murder, celebrated attorney Carson Drew (Litel) travels to a small country town to defend him at trial. As Carson builds his case and finds romance with a local lady (Wynters), his teenaged daugther Nancy (Granville) and her long-suffering friend Ted (Thomas) set about to prove his client's innocence by finding the real killers.


"Nancy Drew: Trouble Shooter" is a fast-movie action/comedy with a fairly simply mystery thrown in for good measure. Its pacing and general story thrust reminds me of some of the juvenile mysteries I read as a kid, so I found it quite entertaining. (Someone who's actually read some of the original Nancy Drew books tells me that everyone is behaving very much out of character, but if taken on its own merits, this is a fun little movie.)

While the thrills I'm positive this film generated for its young target audience in 1939 were far greater than those they will inspire in kids today, I think this is a film that modern youngsters might enjoy, particularly if they're readers who are interested in mysteries. The story moves fast enough and the situations that Nancy and Ted end up in are dangerous enough that I think they will be drawn into the action. It can also serve as a great conversation piece between parents and kids who may be studying American history or who just have an interest in history. It is a clear illustration of how much society has changed in the seventy years since the film's release--all the main characters featured in the film are wealthy, yet the country house the Drew's stay in doesn't have gas or running water or a phone. That's just the most obvious "study guide" element present in this film,

If you like old time detective films and comedies, I think you'll be entertained by "Nancy Drew: Trouble Shooter", no matter what your age.

Lugosi's 'Yellow Peril Trilogy'

Three of Bela Lugosi's worst movies have him playing an Oriental Villain in films inspired by what was in the 1930s a thriving pulp fiction genre, the Yellow Peril tales.

While these films are not an actual trilogy, it is interesting that three of his worst would be drawn from the same now-mostly disused well.

For more reviews of (better) Bela Lugosi films, visit The Bela Lugosi Collection.


The Mysterious Mr. Wong (1934)
Starring: Bela Lugosi, Wallace Ford, Arline Judge and Lotus Long
Director: William Nigh
Rating: Two of Ten Stars

"The Mysterious Mr. Wong" is a B-movie double-threat that manages to both be a bad Yellow Menace and a bad newspaper reporter comedy.


Bela Lugosi stars as Wong, a cheap, underachieving Fu Manchu imitation whose minions are murdering their way through Chinatown's underworld to acquire the ancient Twelve Coins of Confucius. A slacker, racist newspaper reporter dismisses the police's theory that it's a Tong War unfolding, but is otherwise indifferent to the situation until his editor forces him to follow up on the story. He bumbles his way through some of the lamest detective work (with his incompetence exceeded only by that of the police), narrowly avoids several harebrained assasination attempts by Wong's minions, and eventually makes his way to the film's lame climax through the miracle of Plot Dictates.

While "The Mysterious Mr. Wong" is watchable, it is only just. It is better than some later Yellow Menace films (such as the awful "The Castle of Fu Manchu" starring Christopher Lee) but not by much. And if you have even so much as a tiny bit of sensitivity to racism and bad stereotypes, prepare to be at the very least mildly outraged. The worst racism is comes from the mouth of the film's "hero," so be prepared to not like him much. (It's pretty bad, even by the standards of the day in which this film was made.)


The Shadow of Chinatown (1936)
Starring: Herman Brix, Joan Barclay, Luana Walters, Maurice Lui, and Bela Lugosi
Director: Robert F. Hill
Rating: Two of Ten Stars

A pair of self-loathing "Eurasians" (Walters and Lugosi) team up to use their business saavy and scientific know-how to enrich themselves and take their revenge on both the White and Oriental peoples. But they haven't counted on interference from a San Francisco society page reporter wanting to graduate to investigative reporting (Barclay), her Chinese culture-loving private detective friend (Brix), nor the assortment of superfluous secondary characters and bumbling henchmen.


"The Shadow of Chinatown" that I watched is the feature-film version, which is a condensing of a 15-part serial. That explains for some of the disjointedness of the story, but it doesn't account for the atrociously wooden acting on the part of the actors--except Luana Walters, the only performer who gives a decent accounting of herself--the erratic and contradictory abilities and powers of Lugosi's character, and the lame, anti-climax of the movie's end.

This 70-minute version was so dull I almost didn't make it to end. It starts out strong enough with Walters and Lugosi's minions fanning out through Chinatown and terrorizing business patrons while disguised as Chinese gangsters, and providing Barclay's character an opportunity to get captured by the villains and then escape... but then it starts to sink into a mess of bad acting and even worse plotting. Walters remains a bright spot throughout, but she's really the only thing worth watching here.


Black Dragons (aka "The Yellow Menace") (1942)
Starring: Bela Lugosi and Joan Barclay
Director: William Nigh
Rating: Two of Ten Stars

As America gears up to fight the Japanese during WWII, a group of wealthy Fifth Columnists finalize their plans to sabotage the war effort from the top down. However, they share a secret far deeper and more sinister than just being traitors--and that secret is why the mysterious Mr. Cologne (Lugosi) is murdering them, one by one. Is Cologne an American patriot, or is he a threat more sinister than even the enemy agents?


There isn't much in this 1942 spy movie that recommends it to the modern viewer. "Black Dragons" is terribly dated due to its WWII message of "loose lips sink ships" and while it shows some glimmers of perhaps having risen to the level of an interesting thriller, the rushed, exposition-heavy wrap-up during the film's final ten minutes dispels what little supense had been built up, and the fact that the mysterious powers displayed by Lugosi's character (who, literally, vanishes into thin air several times) remain unexplained, confine this film to the massive scrapheap of Z-grade pictures.

Nancy Drew reports on murder and danger

Nancy Drew - Reporter (1939)
Starring: Bonita Granville, Frank Thomas Jr., Mary Lee, Dickie Jones, Thomas Jackson and John Litel
Director: William Clemens
Rating: Five of Ten Stars

While trying to win an opportunity to have an article published in the local paper, teenaged detective Nancy Drew (Granville) decides a woman on trial for murder is innocent and sets about finding the one piece of evidence that will prove her so. Unfortunately, the real killers are looking for it, too.


"Nancy Drew - Reporter" is the sort of the film that probably appealed to 9-year-olds in 1939--and the presence a pair of trouble-making little kids making life hard for the teenaged protagonists of the story makes sure there's someone there they can relate to--but there's not much for adults to enjoy here. I'm not sure there's even alot for modern kids to enjoy.

The biggest problem is that the mystery being solved here is pretty much explained in the first few minutes, solved halfway through the movie, and ultimately resolved through dumb luck rather than detective work. The film is more concerned about presenting screwball comedic hi-jinx than a sensible detective story and it feels like there was a generic kids' comedy script sitting around that minor modifications was made to in order to make a Nancy Drew film.

You may get some chuckles out the antics here, but I think this is a film you can pass on. (It's only worth getting if you acquire it as part of the Nancy Drew four-movie set that contains all the films produced by Warner Bros. in the 1930s. I'm currently working my through the set... and I hope the next two are better than this one!)

Nancy Drew is on the case!

Nancy Drew - Detective (1938)
Starring: Bonita Granville, Frankie Thomas, and John Litel
Director: William Clemens
Rating: Six of Ten Stars

When a wealthy old lady vanishes immediately after pledging to give a $250,000 gift to pay for a new pool for the all-girl school attended by teenager Nancy Drew (Granville), only Nancy believes that foul play may be involved. Roping neighbor and friend Ted Nickerson (Thomas) into helping her, she sets out to solve a mystery that ultimately brings her face-to-face with a band of dangerous crooks.


"Nancy Drew - Detective" is a fast-paced mystery/comedy that full of Girl Power 1930s style, with Nancy disregarding much of the rules of the chauvanistic society she lives in while running circles around adults, chasing down crooks in her sportscar and having adventures of the sorts that makes it easy to see why the "Nancy Drew" books became an immediate hit upon their debut in 1930. (While Nancy is smart and headstrong, she's also popular with her friends at school and she's always perfectly dressed.)

I haven't read any of the books myself, but someone who has told me that the Nancy Drew in print is far more composed and levelheaded than the one in the movie. I'll take her word for it,but the antics in this film reminded me of the juvenile detective fiction I read as a kid, specifically a series called "The Two Detectives". In those books, a pair of friends constantly got into the sort of scrapes that Nancy is in here, and they even relied on diguises and other bluffs like Nancy does. (Without ruining the film, I think I can reveal that Nancy and Ted infiltrate a private sanitarium, with Nancy in a black dress and veil and Ted disguised as a femal nurse. It gets really funny when he gets hit on by a lonely gangsters!)

Bonita Granville plays a cute and funny Nancy Drew, and she makes a great pair with Frankie Thomas, who plays Nancy's long-suffering pal Ted, who, it seems based on this film, is actually a cut above the usual sidekicks in film from this era. You can actually see why he and Nancy are friends... they are both very smart and they are both interested in seening the right thing done. (Although, Ted does seem to have a little more common sense than Nancy, even if goes out the window when she cooks up some crazy idea.) The rest of the cast is decent, but Granville and Thomas are the stars of the film in every sense.

For a fast-paced, lighthearted mystery film that you can sit down and enoy with the young girls in the house, I recommend checking out "Nancy Drew - Detective." Yes, it might be 70 years since the film was released, but the pacing, the jokes, and the overall story still entertains today. (If they're fans of the books, you can even talk to them about how long the character has been around, and perhaps even encourage them to write their own Nancy Drew stories, with their own take on the character. That's what the people who made the movie did, so why can't they?)

'Sucker Money' shows dark side of psychics

Sucker Money (1933)
Starring: Earl McCarthy, Mischa Auer, Phyllis Barrington and Mae Busch
Directors: Dorothy Davenport and Melville Shyer
Rating: Six of Ten Stars

When Jimmy (McCarthy), an actor-turned-newspaper reporter, infiltrates a group of confidence artists who are running an elaborate phony psychic operation, he gets more than just the material for a great expose: He finds romance in the form of beautiful Ms. Walton (Barrington), one of the targets of the bad guys, and he finds danger at the hands of the murderous leader of the gang, Swami Yomurda (Auer) when his cover is blown.

"Sucker Money" is a fine, fast-paced little reporter-saves-the-day-and-the-girl and self-declared "expose" film of the phony psychic racket (which, given the number of movies that were made with this theme during the 1930s and 1940s, I can only assume was quite widespread). The set-up is a bit weak--a criminal enterprise as elaborate and organized as the one presented in this film wouldn't turn to the want ads when it came to hiring new help--but that bit of nonsense aside, the film is engaging, well-acted, and well-filmed... even if it feels and looks a bit too much like a silent movie at times. (There's also the minor issue with the reporter wearing more lipstick and eyeliner than any of the women characters in the film when he's in his "acting mode". Perhaps that's to remind the audience that he's a ACTOR? Or maybe that was part of his disguise--"if they think I'm one of THOSE actors, the women won't come onto handsome ole me, and I'll get my story quicker"?

The weaknesses of the film are more than made up for by the evil Swami Yomurda (whose name is never said in the film, thank God.) Auer portrays a truly sinister and evil character, with strongly scripted actions to support him. He may be a fake psychic, but he has Svengali-like hypnotic powers, and he has no compulsion about ordering those under them to dispatch themselves by drinking poison. He does just this in the film's most startling scene. The scene alone makes the film worth watching, although the strong climax also makes it well worth your time, if you're a lover of old-fashioned crime dramas.





(Trivia: This is the second movie in which Mischa Auer played a crooked spiritualist named "Sawmi Yomurda." The first was 1932's "Sinister Hands," in which is also co-starred with Phyllis Barrington (her character in that film was a different one, however).

Lionel Atwill holds secret of 'The Sphinx'

The Sphinx (1933)
Starring: Lionel Atwill, Theodore Newton, Sheila Terry, Paul Hurst, Robert Ellis and Lucien Prival
Director: Phil Rosen
Rating: Five of Ten Stars

Stock brokers are being murdered and eye-witnesses are certain the killer is Jerome Breen (Atwill), because he took the time to chat with them as he casually strolled away from the crime scene. However, Breen can't be the killer, because he is deaf-mute who was born unable to produce any sound at all. Will bumbling police inspectors (Ellis and Hurst), together with crimebeat reporter Jack Burton (Newton) be able to unlock the secrets behind the murders? More importantly, will they solve the mystery in time to prevent Burton's would-be lady love (Terry) from joining the list of those murdered?


"The Sphinx" is a straight-to-the-point murder mystery with a twist that all but the most inexperienced mystery fans will see coming. In fact, I think the best audience for this film today is to use as a gateway to other classic mystery films for kids who are reading "The Three Detectives", "Nancy Drew" or "The Hardy Boys" (or whatever more contemporary counterparts they may have in the kid's section of the local bookstore). It's a fast-paced film that crams two hours worth of plot into a one-hour running time.

Another thing to recommend this film as an entry point is the characters. While the 1930s stock characters are here--dumb Irish cops and fast-talking tough-guy reporter as the heroes/comic relief, the plucky girl society columnist who will become the damsel in distress, and so on--they feel a little more real than in most films. More importantly, none seem as obnoxious as they sometimes do in these films, partly due to the inherent charisma and on-screen chemistry of all members of the exceptionally talented cast, but also because each character is given a bit more depth than is often the case. (For example, the hard-bitten reporter is shown to have respect for the cops even while ribbing them, and to have genuine feelings and a purely human reaction when his would-be bride turns her back on him.)

"The Sphinx" is by no means a classic, nor is it one that hardcore mystery fans are likely to be overly impressed by. It's got a good cast, and decent script, but the solution to mystery is one that they're likely to see coming. It might not be a bad little movie to show to the right kid, however.

Hitchcock is at his finest with'The Lady Vanishes'

The Lady Vanishes (1938)
Margaret Lockwood, Michael Redgrave, and May Witty
Director: Alfred Hitchcock
Rating: Nine of Ten Stars

Returning by train to England from a vacation in a small European country, Iris (Lockwood) befriends the elderly Ms. Froy (Witty). When Ms. Froy disappears from the moving train, Iris suspects foul play, but no one other than Iris seems to have ever noticed the woman. Is Iris losing her mind, or is something sinister unfolding, something sinister that perhaps even her charming would-be suitor Gilbert (Redgrave) is part of?


"The Lady Vanishes" is one of Hitchcock's best movies. It features stars that generate fabulous chemistry on screen, an excellent supporting cast (the two cricket-loving Englishmen provide some of the funniest moments in any Hitchcock movie, including those that were promoted as pure comedies).

The movie is remarkable, because it's got a romantic comedy air about it, and it's an atmosphere that never quite dissipates even as the tension and mystery about the fate (or even the very existence) of Ms. Froy grows. The story moves from the sinister environment of a suspense thriller back to a more lighthearted, comedic sensibility with such effortless grace that whether your in the mood for a comedy, a mystery, or a thriller, "The Lady Vanishes" will leave you satisfied.

This film should be on any True Movie Geek's "Must See"/"Have Seen" list.

Man on the run searches for 'The 39 Steps'

The 39 Steps (1935)
Starring: Roger Donat and Madeleine Carroll
Director: Alfred Hitchcock
Rating: Eight of Ten Stars

Richard Hannay (Donat) becomes drawn into a spy ring and is innocently accused of murder after a British counterspy is killed in his apartment. He is now on the run, and he must make it to an isolated part of Scotland so he can discover the secret of the 39 Steps, blow open the spy ring, and prove his innocence. There's just one drawback: He's handcuffed to Pamela (Carroll) who wants to see him captured by the police.


"The 39 Steps" is one of Hitchcock's earliest spy thrillers, and it is very, very good. It's got some expertly staged scenes where great tension arises either from the main character knowing he's about to be discovered any moment, if just the other people in the scene notice what he's seen, or from the viewer being in on secrets that none of the characters know. There are also some great moments of expectation reversals and unexpected plot-twists.

This is one of Hitchcock's best movies, and I highly recommend it to any lover of classic films. (I continue to be amazed at how many film buffs haven't actually seen this one!)

Peter Lorre lends a hand in the name of 'Mad Love'

Mad Love (aka "The Hands of Orlac") (1935)
Starring: Frances Drake, Peter Lorre, and Colin Clive
Director: Karl Freund
Rating: Six of Ten Stars

Dr. Gogol (Lorre), a brilliant but mentally unstable surgeon (Lorre) becomes obsessed with the beautiful actress Yvonne Orlac (Drake)--obsessed to the point where he has a wax statue of her installed in his music room. When Yvonne's husband's (Clive) hands are crushed in an accident, Orlac saves them using a revolutionary surgery technique to save them... but then turns to the task of driving Orloc insane, so he can claim Yvonne as his own.


"Mad Love" is a slightly muddled movie with a confused plot (made more-so by the obnoxious comic relief character of an American newspaper reporter (played by Ted Healey). However, the film is well-acted and filmed on impressively lit sets--Gogol's large, empty house/clinic becomes a great metaphor for his his hollow soul, as shadows play throughout it--and its mixture of romance and horror is bound to entertain lovers of early horror movies. The climactic scenes are particularly chilling, as the depths of Gogol's psychopathy becomes crystal clear.

(It may even serve as part of the lineup for a Bad Movie Nite, although it's by no means a bad movie. Some of the more melodramatic elements may tickle the fancy of certain kinds of movie lovers, especially Dr. Gogol's disguise at one point in the film. It's one of those rare cinematic moments that's both scary and hilarious.)

Although not necessarily considered one of the "founding" films of the horror genre, it is certainly the first "transplanted hands take on a life of their own" movies. I can think of at least three others I've seen over the years with very similar plots. (And I think there's a fourth one lurking in my Review Pile.)