Who would've thought that another movie would come along and bump Ed Wood's PLAN 9 FROM OUTER SPACE as the "worst movie of all time"? Well, loyal viewers have found another film to both scorn and revere for the same reason -- MANOS, THE HANDS OF FATE, directed by a Texas fertilizer salesman and nearly lost at one point (to which many would say, "too bad"). The 1966 film's jazzy soundtrack has been preserved for your listening enjoyment from Ship to Shore PhonoCo. With liner notes by monster melody meister, sometimes MMW contributor, and all-around swell guy, Tim Ferrante, this is a vintage release you won't want to miss.
Here's the official 411:
Oft considered one of the worst movies ever made, the jazz-centric
score for Hal Warren's 1966 horror "Master"-piece MANOS THE HANDS OF
FATE is forthcoming from Brooklyn's own Ship to Shore Phono Co. The company
sourced its audio from the 35mm soundtrack negative that was created for making
theatrical release prints. The master tapes have never surfaced, thus leaving
this 35mm neg as the closest one can get to the original recorded material.
THE CREEPY, KOOKY MONSTER CRAZE IN AMERICA 1957-1972
Written and Designed by Mark Voger
John Morrow, TWO MORROWS Publishing
If you are looking for the printed version of a time machine
that will transport you back to the period of the 1960s legendary “Monster
Craze”, then your search is over. Mark Voger, journalist by trade and monster
kid at heart, has delivered via Two Morrows Publishing (the folks that gave you
THE WARREN COMPANION), a compendium of legendary lore and memorabilia from
those near-mythical, halcyon days of “hor-yore”. If the news of this book
hasn’t made you jump off your lab slab, you are in dire need of a new pair of
electrodes, my friend.
Between the boards of this hard bound beauty lays a most
comprehensive collection and discussion of just about every toy, model, mask, trading
card, book, magazine and TV show from that memorable decade that delivered to
kids of all ages an infusion of monster plasma straight into the bloodstream of
American pop culture.
Sure we’ve seen some of these images before, and many can be
viewed with a simple click on any computer search engine. But, Mr. Voger’s
adept and skillful journalistic skills come into play here to make the overall
concoction one part walk down memory lane and one part archival history.
Readers can pull this book of the shelf (or the coffee table) and be instantly
immersed in 60s monster culture.
Voger begins our journey with a forward by the venerable
Zacherle and then with an introduction detailing his reminisces about his own
experience growing up and – much like Larry Talbot under the light of the full
moon – transforming himself from a nice neighborhood kid to a slavering,
addicted fan of anything that resembled a monster.
What follows, fright fans, is a fusillade of fun filled to
capacity and seldom seen in book form. There are chapters on TV horror hosts,
the first monster film magazine (FAMOUS MONSTERS OF FILMLAND, of course!),
Bobby “Boris” Pickett and THE MONSTER MASH, monster models, 8mm monster movies,
monster trading cards, monster masks, monster toys, the Weird-oh and Rat Fink
phenomenon, TV shows … the list goes on. Included are interviews with John
Astin, James Warren, Forrest J Ackerman, George Barris, Ed “Big Daddy” Roth, Al
Lewis, Butch Patrick, Jonatan Frid, and more. The middle of the book leans
heavily on THE ADDAMS FAMILY and THE MUNSTERS TV shows, but that’s because a
lot of the people who were stars in the show are still alive and are willing to
share their memories. Otherwise, each subject is well-represented.
At 191 pages, there’s plenty to dive into, but I think you’d
wish after reading it, that it was twice as long. The book is beautifully designed,
the text is sharp and the colors are true. The cover sports a fitting,
full-page image of the icon of the era, the pop-eyed, snaggle-toothed, ghostly
green reanimated rotting road kill aptly-named, the “Shock Monster”.
If you are looking for a social treatise on Monster Kid
Kulture, you won’t find it here. But, if you want a fun-filled ride that
recaptures a time that lives on in many a Monster Kid’s heart, then this is it,
fellow monster lovers.
So, everybody jump in your way-back machines, set the
controls for “MONSTER CRAZE”, and indulge yourself in a few hours of nostalgia
from an era that will forever be a beloved part of American pop culture.
This book gets MONSTER MAGAZINE WORLD’s highest
The ninth issue of the Spanish horror film 'zine, EXHUMED MOVIES is advertised for sale at the MONSTER WORLD blog. Unless the postage is more to send to the U.S., I figure it will cost 30 or more bucks to order an issue. Not bad when you consider that it's a book-sized 384 pages. Here's a list of the (translated) contents:
DARK SPANISH FILM
The howl of the devil
Docugramas on the Royal Palace and the Escorial
The Orgy of the Dead
The clan of the Nazarenes
The night of anger
The vampire highway
The sound of death
The power of desire
Corruption of Chris Miller
Nothing mama ... just a game
Reflections of the abyss
"After the dark side"
George Hilton, the devil has many faces
Alibi red disc
SUMMARY bloody small Estefania
You did with Solange
5 females for a murderer
ARCHAEOLOGY OF CULT FILM
The return of Sabina
Sexology classes on the screen, the Hygiene - pictures to
the reports of schoolgirls.
Fourteen years before he headed down the Amazon on the "Rita" in Universal's THE CREATURE FROM THE BLACK LAGOON, Richard Carlson was posing as a dashing writer/director/actor in the November, 1940 issue of MODERN SCREEN.
In the July 1938 issue of PHOTOPLAY, the perky actress, Ginger Rogers, was interviewed. The first question she was asked was, "What personal accomplishment are you most proud?" Her answer was a sketch she had done of Maria Ouspenskaya!
When Maleva, the "Gypsy Woman", intones "De vay you valked wus torny", over the dying Larry Talbot in Universal's 1941 THE WOLF MAN, she lifted the curse of the werewolf forever, or at least a few years later until FRANKENSTEIN MEETS THE WOLFMAN. Russian-born Maria Ouspenskaya (1876-1949) will be remembered by horror film fans for her brief, but indelible appearances as the aforementioned Maleva. She appears to come, literally out of the mist, to Talbot's aid in the most fortuitous of situations, as if she were his guardian angel. The chain-smoking Ouspenskaya was quite respected as an actress in her day. IMDB states that she was "addicted" to astrology and would interrupt a film's production until the stars were right for her to go in front of the camera, which added a colorful but problematic dimension to her persona. Following is an article from SCREENLAND, April 1941. In it, she reflects on her life and the struggles she had along her own "thorny way". When told by her mother, "You are an Ugly Duckling. Men will not seek you out. Your salvation lies in developing your intelligence", she knew she was telling her the truth and took her advice. The result was a remarkable life and career in the theater and films.
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".
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.