SCARING UP SOME LAUGHS!

Happy October! Well, here we are again with a new month. Alas, September didn’t go as planned (I had hoped to have some more reviews up but once again other commitments had to take priority). But there’s always this month to give it another shot, eh?

Speaking of this month, it’s a good one to take a look in on Turner Classic Movies as they’ll be airing several classic horror-comedies in anticipation of Halloween. They’ll be showing a whole host of straight horror films as well (although there is a lot of comedy to be found – some of it even intentional – in some of the classic Bela Lugosi, Vincent Price, etc. offerings TCM has on tap, too – just click here to check out the full month’s schedule).

But back to the horror-comedies – there are two bona fide horror-comedy entries, three “horror-onable mentions” and one horror-comedy template on the schedule.

It all kicks off on October 5th at 12:45 AM with “I Married a Witch.” This film with its solid trio of Frederick March, Veronica Lake and Susan Hayward falls into the “horror-onable mention” category. There are no overt attempts at “haunting” or horror trappings but you have to give it its due for being the antecedent to TV’s “Bewitched” and comic book's’ “Sabrina the Teenage Witch.”

October 20th delivers an undisputed classic of the horror-comedy genre, “Arsenic & Old Lace,” airing at 11:45 AM. I won’t say much about it in this post because I’m determined to get my review of the film up before the year is out. Besides, director John Landis (who has a few horror-comedies of his own on his resume) has some things to say about it at the bottom of this post so I’ll give him the floor this time.

October 22nd brings a double dose of films from the “Topper” friendly-ghost movie series – except “Topper Returns” which is the one film in the trilogy with liberal doses of haunted house trappings. Still the other two entries are great “horror-onable mentions” – how can you go wrong with Cary Grant and Constance Bennett in the lead of “Topper” and Constance returning for “Topper Takes a Trip.” You can catch the former at 11:45 AM and the latter at 1:30 PM. Both films are great screwball fun with a dollop of romantic comedy thrown into the mix.

On October 30th get set for two great flicks. First up are the Bowery Boys in one of their greatest horror-comedies ever, “The Bowery Boys Meet the Monsters.” It’s like they took the Addams Family and the Munsters and mixed them into a stew with every wacky mad scientist that ever appeared in a Three Stooges short (even though "The Bowery Boys Meet the Monsters" came out years before the Addams and Munsters shows). The overlay of the brilliant Leo Gorcey, Huntz Hall and the rest of the Bowery gang brings this one home in a big way.

Also on the 30th is the great terror-template, "The Old Dark House." You may have read my review of William Castle’s comedy remake. The original was more of a straight-up horror with a lot of black comedy elements. As a template for haunted house trappings in a not-entirely serious setting, “The Old Dark House” is a must-see.

So that’s what’s on tap, as far as I can see. If I’ve missed any others, please be sure to send me a comment or email to let me know.

Now, as promised here is “An American Werewolf in London” and “Innocent Blood” director John Landis’ commentary on the trailer for “Arsenic & Old Lace,” courtesy of Trailers From Hell:

IT WAS A DARK & STORMY JOKE...

People that know me personally know I'm not a huge fan of "forwarded" emails. I find most of the "forwards" purporting to be factual - whether about some miraculous occurrence or some piece of pending legislation or some obscure historical fact or the like - well, I often find these to be wildly inaccurate - either half-truths at best or just plain old lies. And most are debunked with just a simple search on Snopes.com.

Of course, the other kind of "forwarded" email that is quite prevalent is the "joke." I always open these with trepidation as I'm not generally a fan of coarse humor, either - and many "forwards" slide down such slimy slopes.

The joke I received in an email today, however... well, this is a joke worth sharing. And it is apropos to this very blog, which saves me the trouble of emailing it out to friends as a "forward." Not that I would - I'm not a big fan of "forwards," remember?

Without further ado, here's the joke, titled "It Was a Dark & Stormy Night":

Bob Hill and his new wife Betty are vacationing in Europe - as it happens, near Transylvania. They are driving a rental car along a rather deserted highway. It is late and raining very hard. Bob can barely see the road in front of the car. Suddenly, the car skids out of control! Bob attempts to control the car, but to no avail! The car swerves and smashes into a tree.

Moments later, Bob shakes his head to clear the fog. Dazed, he looks over at the passenger seat and sees his wife unconscious, with her head bleeding! Despite the rain and unfamiliar countryside, Bob knows he has to get her medical assistance.

Bob carefully picks his wife up and begins trudging down the road. After a short while, he sees a light. He heads towards the light, which is coming from a large, old house. He approaches the door and knocks.

A minute passes. A small, hunched man opens the door. Bob immediately blurts, "Hello, my name is Bob Hill, and this is my wife Betty. We've been in a terrible accident, and my wife has been seriously hurt. Can I please use your phone?"

"I'm sorry," replies the hunchback, "but we don't have a phone. My master is a doctor; come in, and I will get him!" Bob brings his wife in.

An older man comes down the stairs. "I'm afraid my assistant may have misled you. I am not a medical doctor; I am a scientist. However, it is many miles to the nearest clinic, and I have had basic medical training. I will see what I can do. Igor, bring them down to the laboratory."

With that, Igor picks up Betty and carries her downstairs, with Bob following closely. Igor places Betty on a table in the lab. Bob collapses from exhaustion and his own injuries, so Igor places Bob on an adjoining table.

After a brief examination, Igor's master looks worried. "Things are serious, Igor. Prepare a transfusion." Igor and his master work feverishly, but to no avail. Bob and Betty Hill are no more.

The Hills' deaths upset Igor's master greatly. Wearily, he climbs the steps to his conservatory, which houses his grand piano - for it is here that he has always found solace. He begins to play, and a stirring, almost haunting melody fills the house.

Meanwhile, Igor is still in the lab tidying up. His eyes catch movement, and he notices the fingers on Betty's hand twitch, keeping time to the haunting piano music. Stunned, he watches as Bob's arm begins to rise, marking the beat! He is further amazed as Betty and Bob both sit up straight!

Unable to contain himself, he dashes up the stairs to the conservatory. He bursts in and shouts to his master...

(you'll have to click on the video of a couple other monsters for the punchline):

CAN YOU DIG IT?

Summer is drawing to a close... time for summer vacations to end and folks like me to shovel out from under the flotsam and jetsam and get back to work! On the docket: another silent Our Gang (Little Rascals) short, more Columbia shorts (including the Stooges of course), the previously promised "Arsenic & Old Lace" and Don Knotts. And maybe, just maybe a whole Christmas week of those smiling pick-axers above, Laurel & Hardy.

In the meantime, speaking of picks and shovels, here's a treat for fans of that other daffy duo, Abbott & Costello. Here's Passaic, New Jersey's own favorite son, director Joe Dante ("Gremlins," "Matinee") giving you his take on Paterson, New Jersey's own favorite son Lou Costello and Asbury Park, New Jersey's own favorite son Bud Abbott in "Abbott & Costello Meet the Mummy." (Originally posted on Trailers From Hell)

Enjoy!

CARRYING THE (ANGRY VILLAGERS) TORCH FOR CLASSIC HORROR-COMEDIES

Back in January I wrote a post called “The Old Dark Anachronism” – click on the title to read that piece if you missed it. In that entry, I bemoaned the fact that a traditional “Old Dark House” comedy could not be made today that would take place in a contemporary setting. I think there’s a belief among many (but certainly not all) modern filmmakers that violence, sex and salty language have to be as “in your face” as possible, and that comedies have to be top-loaded with “pop culture references” (“Scary Movie” series anyone?) as opposed to actually writing a story that works on its own merits with characters you can get behind.

I also noted that it would be hard to make a movie with people trapped in a haunted (or allegedly haunted) house and have it be “believable” while still having the scares be funny for modern audiences, who are used to being chilled to the bone by more modern ghostly fare ranging from “The Sixth Sense” to “Paranormal Activity.”

I did make a point that traditional horror comedies could still be made successfully… if they appeared to be from an earlier time period and adopted the tropes and trappings of such classic fare as “The Ghost Breakers” and “Hold That Ghost.” In particular I cited director Larry Blamire’s “Dark & Stormy Night,” which was then making the rounds of festivals and special indy/arthouse movie theater screenings.

I’m happy to report that Larry’s film is now available on DVD for all to see, and happier still that USA Today saw fit to interview Larry and promote that fact. I’m particularly happy to read how committed Larry is to making films the whole family can enjoy. You can read USA Today’s interview with Larry Blamire when you click here.

I haven’t seen the film yet but I hope to do so soon and will post a review when I can. I am friendly with a couple of the cast-members and would like to cite their commitments to classic horror-comedy as well.

First up is the great character actor Daniel Roebuck who is writing the foreword for the book version of “Scared Silly.” Roebuck is celebrating his 25th year in Hollywood and we are all the more blessed for enjoying this versatile, talented actor’s work. I went into major detail on Roebuck’s horror-comedy credentials in a post you can read when you click here. Also be sure to avail yourself of Daniel’s official website by clicking here.



Mark Redfield has made a few straight-up horrors but his heart lies with comedy. A talented writer (and columnist for “Famous Monsters of Filmland”) and artist as well as an actor, Mark is working on a book that examines the acting craft of Laurel & Hardy. One of the chapters Mark is planning promises to examine the “scare take” technique of Stan & Ollie. I’d say that’s a huge commitment to horror-comedy, wouldn’t you? Mark is also known to do beautiful caricatures of “the boys.” He has a host of websites – the most comprehensive may be his blog which you can check out by clicking here.



The film also brings a host of other great character actors with extensive resumes. Among the most notable: Marvin Kaplan who voiced Choo Choo on “Top Cat,” had featured roles in the classic all-star comedy film “It’s a Mad, Mad, Mad, Mad World” and the TV series, "Alice” and appeared in many live-action and animated TV series including several with a horror-comedy slant; and James Karen who has been in everything from “Frankenstein Meets the Spacemonster” to "Poltergeist" to the '80s horror-comedy movie series “Return of the Living Dead” and may be most well-known (by face if not name) for his long run as TV commercial pitchman for supermarket Pathmark.

To check out the rest of the formidable cast, be sure to visit the film’s imdb page by clicking here, or click here to visit the film’s official site. And watch the trailer right here:

ONE SHIVERY NIGHT (1950)

RATING: *** out of ****

PLOT: Hugh Herbert’s construction business (“Houses moved and remodeled”) is in trouble: “We’re not making enough money to keep ourselves in red ink,” proclaims Hugh. But things are soon looking up when Hugh and his assistant Dudley Dickerson are asked by a client (Vernon Dent) to remodel an old mansion rumored to have a fortune buried inside. They set off to remodel the place, unaware that there are a couple of thugs (Philip van Zandt, Robert Williams) inside searching for the money. The thugs pass themselves off as electricians and then proceed to do all they can to scare Hugh and Dudley out of the house. Can Hugh and Dudley complete the reconstruction without being scared out of their wits?

REVIEW: Here is another Columbia Pictures short. Like my reviews of shorts from the Three Stooges and Schilling & Lane, I have to note that being a Columbia production the “story” exists mainly to bridge the gaps between gags and is barely a story at all. When presented with this Columbia shorts formula I feel I have no choice but to grade their efforts on a curve and concentrate on the strengths of the performances as well as the quality of the gags and horror-comedy trappings in each.

Let’s start with the performances. I’m happy to report that this short brings us the indomitably funny Dudley Dickerson and the delightful (to me) Hugh Herbert. For more on each of these funny men, I refer you to my reviews of “The Black Cat” and “Spooky Hooky.”

An interesting aspect of this short is the way it handles race. Unlike a lot of films of its time, “One Shivery Night” presents an African-American character that is front-and-center and not merely subservient. Although Dudley works for Hugh, Hugh treats him more like a friend and partner than a subordinate. This relationship runs through the four horror-comedy shorts Herbert and Dickerson made together. So much so that you not only can say they operate as a “comedy team” but even make the claim that in more enlightened times Dickerson probably would have received equal billing with Herbert.

I’ll say this for the Herbert-Dickerson pairing as well: I think Dickerson’s enthusiasm and natural ease at getting laughs may have inspired Herbert. I note that due to various reports stating Herbert wasn’t entirely happy making shorts for Columbia. Longtime Columbia shorts director Edward Bernds is quoted as saying that Herbert considered working in shorts “slumming.” Note that prior to his tenure at Columbia, Herbert was a featured player providing comedy relief in musicals, utilized as a top “second banana” delivering sure-fire laughs in support of comedians like Wheeler & Woolsey and Olsen & Johnson as well as headlining and co-headlining his own films (including the horror-comedies “Sh! The Octopus!” and “The Black Cat” as well as a string of features for Universal). It may also be that the horror-comedy situations provided a fresh diversion for Herbert, who otherwise was utilized by Columbia in marital farces akin to Leon Errol’s RKO shorts.



Herbert and Dickerson have an easy rapport and are dynamite together. The horror-comedy genre provides them a perfect set-up for a slow-and-steady build-up to more outrageous situations and gags, a la Laurel & Hardy. Like many of the Columbia horror-comedy shorts, the leads start somewhere else (in their detective offices, as bellboys, as exterminators, etc.) before they actually get to the haunted house… and whatever their profession may be is usually the impetus for them having to go to a haunted house in the first place. In this case it’s Hugh’s construction office. This oft-used scenario in the Columbia shorts doesn’t always work – sometimes the gags in the first location are not as strong as the haunted house gags to follow, and as I mentioned in my review of “Idle Roomers,” there is a desire (especially in shorts) to see the comedians get into the spooky setting as soon as possible. I’m happy to report that in “One Shivery Night,” the gags at the office are just as amusing and fun to watch as the haunted house gags to come.

Three of the more memorable bits in the construction office occur once Vernon Dent arrives to hire the boys. With their business dried up and their gas and phone shut off (Hugh only finds out about the phone when he tries to call the gas company to complain!), Hugh and Dudley are desperate for work. When Dent arrives, Hugh pulls out an old trick – he pretends to take calls from other clients with Dent sitting there (he sets off the ringer on an alarm clock that’s out of Dent’s sight to simulate the phone ringing). Hugh talks big like he is in demand with a lot of big jobs to do so he can get top dollar from Dent. In a Stooges-style moment, Hugh gets his hand stuck in a mousetrap then flings it – and it lands promptly on Dent’s nose! Then when Dent asks Hugh about the quality of his work, Hugh guarantees “when I build ‘em they stay built!” – and just then Dent pushes on a beam and it tips over!

In a typical feature, Hugh and Dudley wouldn’t get the job after the mousetrap and beam faux pas, but this is the fast-paced, often illogical world of Columbia shorts, so before you know it Hugh and Dudley are at the mansion and ready to work. When Hugh and Dudley arrive at the site, we’re treated to lots of Laurel & Hardy style slapstick as they try to get tools and ladders off their truck… culminating with Dudley’s head stuck between the rungs of a ladder and Hugh stuck in a barrel with his legs sticking straight up!

Once inside the mansion, the real creepy trappings kick in – lightning flashes, Dudley gets tangled in a drape as if it’s a ghost and then a boxing glove flies out from behind a painting on the wall and clonks him. It’s all fast and furious with marvelous “scared takes” from both Dudley and Hugh. And that’s just for starters. Once the crooks put a scare into our heroes with the power of suggestion by backing up the “ghost” legend, Hugh and Dudley are prime candidates for more scares.

And scared they are! The gags that follow are in many ways standard horror-comedy fare, but they are tried-and-true gags performed with such professionalism and enthusiasm that they are hard to resist even if you’ve seen the same gags before. The crooks pretend to go home for the night but they soon return wearing monster masks. Sleeping Dudley is the first to be frightened. He does a prime scare take, knocking his head back against the wall and running away screaming. Then Hugh thinks Dudley has bumped into him and turns around to find one of the mask-wearing crooks… and then Hugh runs away screaming. Other typical gags include Hugh hiding in a trunk to find a mask-wearing hood already in it, and Dudley sitting on a chair only to have the sheet cover rise up and chase him.

Dickerson in particular gets a lot of scream… er, screen time and utilizes it to the fullest. One completely hysterical scene has Dudley’s suspenders getting caught on a door handle. He’s convinced the ghosts have got him as he flails around trying to escape, but he never gets anywhere – he is always pulled back by the elastic! Eventually he snaps free and lands right in the furniture.



While Dickerson’s screen time and standing in the film are more elevated than most in the period, this short is not completely devoid of stereotypes. We get the requisite gag where Dudley gets covered in white paint, right before the crooks vow to “finish them off” – and then the crooks are scared away (this is an old bit that appeared in many films and cartoons, most notably in Laurel & Hardy’s “The Live Ghost” which doused caucasian actor Arthur Houseman in whitewash; the gag takes on a different pallor when it is an African-American actor turning all white). Hugh is also scared when he sees Dudley – which leads to the incongruous non-sequitor of a closing gag where Hugh slides across the floor and down a slide under a door, quickly followed by Dudley.

All tolled, there’s nothing terribly unique here, just Dickerson and Herbert getting into the spirit of things. For me, their inspired teaming and facility for putting over fright gags are enough reason to elevate this effort to a three star rating.

SPOTTED IN THE CAST: This short features two stalwarts of Columbia’s stock cast, Vernon Dent and Philip Van Zandt.

Vernon Dent was a character actor in dramas and comedies from several studios (including some co-starring gigs with Clark & McCullough and W.C. Fields) and ultimately settled into a comfortable niche at Columbia playing both antagonists and put-upon victims of the Stooges and other Columbia comedians.

Philip Van Zandt was almost always playing “heavies” whether gangsters, mad scientists, henchman or the like. He appears in the classic Three Stooges 3D short “Spooks” as well as “Dopey Dicks” and “Outer Space Jitters.” He also appeared in comedy features like Laurel & Hardy’s "Air Raid Wardens" and “The Big Noise,” the Marx Brothers' "A Night in Casablanca," and "Ghost Chasers" with the Bowery Boys.

BEST DIALOGUE EXCHANGES:

HUGH (holding a blueprint upside down): I was wondering what those bathtubs were doing on the ceiling!

HUGH (assuring his client of the quality of his work): You leave it to me… I’ll fix it up so nobody will recognize it!

HUGH: We’re miles and miles away from anybody.

DUDLEY: That’s just what I’m afraid of!

DUDLEY: Can I draw part of my back salary?

HUGH: Whatsamatta, you crazy? What about the two dollars I gave you last week?

DUDLEY : I dunno boss, I expect I’m just extravagant!

CROOKS (telling Hugh & Dudley they’re leaving): You don’t think we’re going to spend the night in this creepy night, do you?”

DUDLEY: You mean you’re going to leave us here all alone?

CROOK: Oh you won’t be alone – you’ll have Ben’s ghost to keep you company!

BEST GAGS: I’ve already mentioned most of the highlights in the body of the review. Nothing beats Dudley’s antics, particularly with his suspenders, but here are some more great sight gags:

• The old chestnut of Hugh accidentally drinking from a bottle of ink instead of his beer.
• Hugh finds a wire in his way and starts to follow it into a wall opening… and the crooks promptly trap him inside. Dudley uses a pick to get through the wall, spears Hugh’s derby and pierces a water pipe. The water then starts splashing out of various holes.
• There’s one gag that’s more incredulous than funny where the crooks tie a noose around Hugh’s neck to drag him out of the wall.

BEST COMBO VISUAL-VERBAL GAG: Dudley has stepped into a can of black paint. Hugh walks into the room and sees a trail of black footprints… climbing UP the wall! When Hugh asks where Dudley is, he replies “up here” and we see his head peering from a hole in the ceiling! Dudley replies, “I don’t know how I did it, but here I am! Come on up, boss!”

FURTHER READING: Ted Okuda and Edward Watz wrote an indispensible book called “The Columbia Comedy Shorts” and Leonard Maltin wrote one called “The Great Movie Shorts” (also known as “Selected Short Subjects”). You can order them here:

Selected Short Subjects: From Spanky to the Three Stooges (Da Capo Paperback)












I also encourage you to visit The Columbia Shorts Department – Greg Hilbrich’s excellent site dedicated to the fun and frolics of this studio that gave the world The Three Stooges and so much more.

WATCH THE FILM: Since this is a short there is no trailer, but thankfully I was able to find this short clip whose length falls within the parameters of “fair use” – a really nice clip highlighting Dudley and Hugh’s great “scare takes”:

ELVIS PRESLEY MEETS THE MONSTERS

My good friends Thomas Hall and Daniel Bradford are making their modern-day contribution to the horror-comedy genre with the pending release of their comic book, KING!

Here is the press release:

BLACKLIST STUDIOS' NEW COMIC BOOK HERO IS HUNKA' HUNKA' BURNIN' FUN

BUTLER, NJ (August, 2010) – Writer Thomas Hall and artist Daniel Bradford of Blacklist Studios, creators of one of the most acclaimed independent comics of recent years return this August with the release of “KING!”

Like their breakout hit “R-13,” the hero of the duo’s new series is adept at dispatching monsters. But unlike Robot-13, “KING!” knows all too well who he is… and he’s not afraid to have some fun as he bashes the baddies in this decidedly “comic” book.

“Daniel and I really enjoy the intricacies and depths of the R-13 mythology, and love conveying the universal emotions that story engenders,” says Hall. “But we’re also fans of comedy and monsters and KING! gives us the chance to go over-the-top in ways that reflect the comic books and movies we grew up with.”

“I get to draw bad-asses, brains, big guns and burritos… what could be better?” adds Bradford.

KING! #1 tells the story of a former pro wrestler-turned-bounty hunter who bears more than a striking resemblance to a certain “King of Rock ‘n Roll.” All he wants is a whole day of nuthin’. All he gets is a hunka’ hunka’ talkin’ heart in the mail… and the tale the heart tells is nothing short of epic. Can KING! simultaneously save the local Blubber Tubber Burger joint from an undead infestation and satisfy his hunger for a peanut butter banana burrito with bacon?

Now fans of Blacklist Studios, Robot 13 and Elvis Presley can have their burritos and eat them too when the first issue of KING! #1 is released on August 16, 2010 – just in time for the 33rd anniversary of the real King’s passing!



For fans who want their wardrobe to be as cool as the comic they’re reading, there’s also a KING! t-shirt available on the Blacklist Studios website. No one will mess with you when staring at the pistol-packin’, pompadour sportin’ monster killer on your chest!

The print edition of KING! #1 can be pre-ordered directly from Blacklist Studios (www.blackliststudios.com). The 32-page, full color comic retails for $3.99 US. For wholesale purchases, distributors and retailers are encouraged to email Blacklist Studios’ Thomas Hall at tom@blackliststudios.com or contact Tony Shenton at shenton4sales@aol.com for terms and information.

MY HAIR-RAISING SEMI-HIATUS

To the faithful “Scared Silly” watchers: I know, entirely too much time has elapsed without a new review from me. For that I offer my sincere apologies. There are a variety of reasons I haven’t posted a new review the past few months, none of which I’ll bore you with here. Suffice it to say that “Scared Silly” remains a hobby project that will hopefully eventually become a real book, but until it does, it has to play second fiddle to my paying gigs as well as other real-life commitments to family and friends.

With that said, I seem to be coming out of a period where my schedule has been absurdly busy to one that could be still-busy-but-manageable. Which means I should hopefully be able to get back into gear with more new reviews soon. I know I’ve been promising my review of Don Knotts’ “The Ghost & Mr. Chicken" for ages, for one. Cary Grant’s “Arsenic & Old Lace” is also on the near-horizon and I’m toying with the idea of an all-Laurel & Hardy week (maybe for Christmas) – we’ll see. Until then, I just wanted to thank you for your patience and ask you to hang in there... there is more happy haunting to come!