Friday, July 24, 2015


Basil Gogos is the undisputed king of cover artists from the classic era of monster magazines. Awash in blazingly lurid colors and festooned with underlighting, spotlighting, and backlighting that casts caverns of shadows, his work is indelible and enduring and serves as the touchstone for all who came after.

Coming soon to the auction block is the original work that Gogos did for the cover of the 13th issue of FAMOUS MONSTERS OF FILMLAND. Recognized as Gogos' first depiction of the Frankenstein monster, it was originally intended as a preliminary work. Publisher James Warren reportedly went wild over its overt impressionism and bought it for use on the cover of FM #13. The cover is also notable for its use of the phrase, "Best Issue Ever!" which appeared numerous times over the years on the cover of FM.

The acrylic painting is on illustration board and the matted image measures 9.5" x 11.5".

Tuesday, July 21, 2015


Is it too early to be nostalgic about horror films from the 1990's? Not if you're Charles Band, son of cult director Albert Band, who has managed to reinvent, resuscitate, and re-imagine his Full Moon Entertainment film properties on a somewhat regular, and spot-on timely basis. Just when you thought you'd never hear again from franchises like SUBSPECIES, PUPPET MASTER and TRANCERS, Band turns out another one in the series to keep fans' attention.

And speaking of fans, Full Moon has been around since the 1980's and has managed to maintain a core base of loyal followers, similar to what Troma has accomplished as well -- which may account for large numbers who enjoy productions from both. I have watched a fair amount of Full Moon films over the years; the aforementioned TRANCERS, NETHERWORLD, DR. MORDRID, THE PIT AND THE PENDULUM and MERIDIAN to name a few. A surprising number of stars who went on to A-list (or near A-list) films have paraded through these decidedly B-list movies, including Lance Henrikson, Sherilyn Fenn, Ashley Laurence, Helen Hunt, Tim Thomerson and Oliver Reed. Even a horror icon or two. like Angus Scrimm, Martine Beswick, Barbara Crampton and Jeffrey Combs have had roles in FM films. The films have been helmed by the competent direction of names such as Stuart Gordon and David DeCoteau. Overall, Full Moon as a company is well-branded, has a cool logo, has lots of characters from its films to make toys and collectibles out of, has a streaming video subscription channel, and even has a "house" signature sound from brother and composer, Richard Band.

Now,we are waiting for the soon-to-be-released 8th issue of FULL MOON PRESENTS DELIRIUM magazine, the latest in a long string of sideline merchandise from horror's "Band of Brothers". Optimistically announced on a bi-monthly publishing schedule, it will probably appear -- like so many others -- less regularly. The fact that they offer subscriptions is promising enough.

At first glance, DELIRIUM appears very similar to the page layouts used by FANGORIA. No wonder -- it is edited by FANGO's own editor and scribe, Chris Alexander, and it's got his mark all over the place. While I found the return of GOREZONE to be rather lukewarm and anemic, Alexander's oversight and his writing have never seemed more enthusiastic. It seems like he is enjoying a refreshing break from the strictures and confines of a magazine that he has held the reins on for, well, many a full moon.

The snappy blurb on the DELIRUIM website is worth repeating here:

“'Full Moon presents DELIRIUM' is a breathless, bold, bloody, beautiful, brainy and ballistic bi-monthly 21-gun-pulp-fiction-salute print periodical dedicated to exploring and celebrating the uninhibited joy of making outrageous movies while high-fiving the fevered audiences who just can’t seem to get enough of that far-out stuff…

Published by Band, produced by the Full Moon Features team and edited by filmmaker, film journalist and FANGORIA Magazine EIC Chris Alexander, DELIRIUM is a passionate work of lurid wonder, jam-packed with exclusive interviews, bizarre stories, garish photos from Band’s expansive and foreboding vaults (many of which have never, ever, EVER been seen before), posters, retrospectives, special FX make-up secrets, laughs, shocks, thrills and chills. DELIRIUM aims to chart indie horror and fantasy’s secret history using the Empire/Full Moon/Band legacy as the foundation but then careening madly into unexpected directions.

Each issue has a mix of independent and exploitation coverage beyond that of Full Moon movies. For example, issue #2 has an excellent, in-depth look at the TOMBS OF THE BLIND DEAD quartet of films. About a third of every issue is dedicated to articles on the Full Moon film franchises.

So, fans who are looking for a well-balanced diet of Full Moon madness and other coverage from the "nostalgic 90's" and there abouts, there's enough guts and gravy to fill up the most ravenous of revenents.

Issue #1

Issue #8

Thursday, July 9, 2015


A running feature in the earlier years of FILM BULLETIN, published from 1934-1963, was the "Exploitation Picture of the Issue". Selected for the 29 December 1941 issue was Universal's THE WOLF MAN.

Also reviewed in the same issue, it was described by the single-named reviewer, Leyendecker, as "made to order for thrill fans" and ranking "well up as a horror film, despite a fantastic story (!)". Lon Chaney, Jr. receives a nod for playing a "difficult roll" with a "strong, yet sympathetic performance".

The picture above is a full-page ad shown in the December 15th issue of FILM BULLETIN. Listen to that box office howl!

Thursday, July 2, 2015


This lobby card, currently up for auction, is an original from Tod Browning's LONDON AFTER MIDNIGHT (MGM, 1927). This particular lobby card is significant because it is the only one in the set that depicts Lon Chaney in his vampire makeup.

Tuesday, June 30, 2015


The soon-to-retire Rick Baker has created a cover for FAMOUS MONSTERS OF FILMLAND #281, showcasing the 80th Anniversary of THE BRIDE OF FRANKENSTEIN.

Bob Eggleton offers an alternate cover, depicting Godzilla vs. Cthulhu.

Monday, June 29, 2015

Saturday, June 27, 2015


You've seen Tim Ferrante's work here before. He has guested as MONSTER MAGAZINE WORLD'S music critic in "The Sound of Horror" posts.

Tim and I have enjoyed a cross-country correspondence for a time and I have come to learn that he has been very active in our beloved genre. Consequently, I was delighted when I opened a file that I had for the HORROR PICTURES COLLECTION featuring Al Adamson and noticed that he had written the introduction. After telling him of my discovery he wrote back that he not only wrote the introduction, but selected all the photographs as well.

One thing led to another and I asked him if he wouldn't mind writing about his experience. As usual, he was more than gracious. Here, I'll step back and let Tim Ferrante do the talking now....

Tim Ferrante Recollections
June 22, 2015

I'm not sure how I got to know French movie journalist, Gerard Noel. It was the late '80s when we began our trans-Atlantic correspondence, one that was highlighted by his generosity. His envelopes would often contain a poster or two or other piece of Euro-horror material, freely given and most appreciated by yours truly. During this time he was publishing a series of booklets that paid tribute to horror/cult stars and films called Horror Pictures Collection (HPC), a spin-off of sorts of his HPC fanzine created in 1972. They were issued sporadically, filled with photographs and became handsome keepsakes for fans worldwide. Over time, Gerard asked that I write the introductions for the TROMA SPECIAL and THE BEST OF ARGENTO HPCs. I admired his inclination for honoring the broad range of genre subjects.

In 1992 I was working with Al Adamson's partner, Sam Sherman, at Independent-International Pictures (I-IP) on the company's UFO documentary BEYOND THIS EARTH. As a fan of Al, I wondered if Gerard would be open to publishing an Adamson HPC. Sam is a longtime friend so I knew that if Gerard agreed, I'd have full access to I-IP's photo archive. Not being sure what to expect, I advanced the notion to my friend in France. Gerard replied with a letter dated November 6, 1992 saying, “You have 'carte blanche' on this title for the introduction, the photograph captions, the final title, the dedication, etc..”

Carte blanche? Not only did he agree, but he put me in the driver's seat, too!

A signed copy of Al Adamson's Horror Pictures Collection.

I wanted to represent Al's films with both unseen and the very best of the I-IP publicity photos. The company's archive included countless negatives, slides and prints, all of which provided a dramatic mix of familiar and never-before-published images. Abiding by the old expression that “sex sells,” several nudes were chosen from films like GIRLS FOR RENT, CINDERELLA 2000 and THE NAUGHTY STEWARDESSES. I'd selected more than the project called for and sent them to Gerard so he could personally identify those he believed best suited the product and his brand.

In mid-January 1993 I received his photo selections and set about writing. With the help of Sam to accurately identify lesser known actors and crew, I wrote 64 captions as well as the introduction. Al's HPC would be 40 pages and feature 65 photos. Now it was left to Gerard and his assistant, Lucas Balbo, to turn the pile of photos and text into a tactile HPC. In a letter dated February 8, 1993 Gerard happily reported, “The Al Adamson HPC is now in production here for publication in late March.”

I clearly remember seeing the cover for the first time. It was an exciting and bold choice, definitely one people couldn't forget. Sam Sherman and his other partner, Daniel Kennis, were delighted with Gerard's efforts. Al had no idea the HPC was being done, but he would be paying a very rare visit to I-IP's corporate office later that year.

Tim Ferrante's personal copy, signed to him by Al Adamson.

In August, Al was on his way to Europe and Australia for both pleasure and to film segments for BEYOND THIS EARTH. His trip included a stop at I-IP in East Brunswick, NJ. I sat him down in my office and presented the HPC to him. He was amused, intrigued and openly wondered who might buy something like that. He was, though, obviously impressed by it. I had a stack of them on my desk and said, “Sign 20 of these with just 'Best Wishes, Al Adamson'. I'll also need a personalized one for the publisher in France, Gerard Noel. Oh, and one for me, too!” And he was glad to do it, joking that it would ruin their value if he signed them. As we all now know, Al was murdered in June 1995.

The printed versions of HPC would eventually cease, but the brand still exists online and on Facebook. Gerard is as active as ever and while I've not communicated with him in many years I'll always be grateful for his invitation to be a part of the HPC legacy. – Tim Ferrante, June 22, 2015


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