Go Ape! – Rise of the Planet of the Apes (2011)

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May is Go Ape Month here at Monster Movie Kid and on the Classic Horrors Club Podcast. Throughout the month, I’ll be revisiting some classic articles about the franchise along with some new reviews and thoughts. Next, let’s take a look at the reimagined franchise with the first film in a trilogy, Rise of the Planet of the Apes (2011).

It had been ten years since Tim Burton’s attempt to reboot and revive the Planet of the Apes franchise. The movie had done well at the box office despite a lukewarm response from longtime fans. Ultimately, 20th Century Fox chose not to do a sequel and put the franchise to rest once again. However, there were plans brewing to try again with another reboot. This time, it would be an origin story taking the franchise into a new direction. And the result was fantastic.

In 2011, Rise of the Planet of the Apes was released and became an instant hit. Commercially successful and connecting with both old and new fans alike, it did everything right. Its’ intent was to offer something new while paying homage to the original five film series. There are no references to Tim Burton’s film. With the 2011 film, writers Rick Jaffa and Amanda Silver take ideas from the original Pierre Boulle novel and move into a new yet familiar territory under the directorial reigns of Rupert Wyatt, heading up only his second theatrical film.

The movie begins with hunters tracking down and capturing chimpanzees in a forest in a scene pulled right out of the 1968 original but with the roles reversed. Immediately, we see how stunning the CGI effects are. Now, I’m always going to enjoy traditional makeup but, when done right, CGI can be fantastic and it is just that here. Add the talented Andy Serkis and you get a lead character that looks natural. Our captured chimpanzees are headed to Gen-Sys where Dr. Will Rodman (James Franco) is testing a new cure for Alzheimer’s called ALZ-112. After seeing amazing results in a chimp named Bright Eyes (another 1968 reference), he’s ready for human testing. However, Bright Eyes goes ballistic in front of the investors and is killed. As it turns out, she was trying to protect a new-born baby. With the project shelved and all chimpanzees ordered euthanized, Will saves the baby and takes it home, where it immediately displays amazing intelligence.

It appears that the ALZ-112 drug has the side effect of advancing intelligence. Will takes the chance and administers it to his father Charles (John Lithgow), who is suffering from Alzheimer’s. The results are almost instant and the drug appears to work. Charles immediately takes to the baby chimp and names him Caesar (yes, a familiar name in the franchise). Caesar continues to grow in both size and intelligence. He acts like a human, having his own room and speaking in sign language. However, hitting that age when all children begin to question things, Caesar begins to wonder if he is simply a pet and wants to know where he came from. Will tells him about his mother and how she died.

As the effects of the drug begin to wear off and Charles begins to succumb to Alzheimer’s again, Will realizes more testing is needed. After he manages to get the project going again at the lab, things take a turn for the worse at home after Caesar’s natural violent tendencies surface after defending Charles against an angry neighbor. Caesar is removed and taken to a facility where he lives with other primates. With the new testing moving forward at a rushed pace, exposing a lab technician to what ultimately turns into a disease for the human race and Caesar growing in intelligence and becoming a leader amongst the other primates, a confrontation seems inevitable. The results are amazing.

References abound in this film and are almost too many to mention. From an orangutan named Maurice to an evil handler named Dodge Landon (Tom Felton), it’s clear the writers knew the franchise and what the fans wanted. In many ways, this movie is a remake of the original Conquest for the Planet of the Apes. With more realistic primates, it really moves the franchise into the real world. The battle on the bridge was fantastic, setting up the conflict between the intelligent apes and the stunned humans. When Caesar speaks, the looks on their faces show just how much advantage the apes have over their soon-to-be former masters.

There are two key elements in the movie that will carry the franchise forward. The disease is in the background as Caesar’s movement is building within the primate house. But, by the end of the movie, we see that the disease is a real threat, one that will have deadly effects even more present by the second film. There is also a space mission to Mars playing out on TVs in the background. We know the ship is lost by the end of the movie, a detail that will surely be picked up in a future film.

Now, nothing will replace the original films but this film was the start of something fun and entertaining. It was a huge hit at the box office, so no surprise that a sequel was ordered. Highly recommended!

Next, the apes have risen, so it’s time for the Dawn of the Planet of the Apes (2014).

A version of this article was originally published in August 2014.

Go Ape! – Planet of the Apes (2001)

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May is Go Ape Month here at Monster Movie Kid and on the Classic Horrors Club Podcast. Throughout the month, I’ll be revisiting some classic articles about the franchise along with some new reviews and thoughts. First up is this look at the 2001 remake of Planet of the Apes, originally published in August 2014. 

Remaking a classic movie is always a gamble at best. Fans of the original are always ready to pounce on anyone who dares touch “their” film. Remaking a sci-fi classic is almost always a recipe for disaster. Your best bet is to take the classic in a different direction in hopes of making a film that is at least as good as the original yet fresh. However, when you don’t really offer anything new or worthwhile, you might as well have taken the time to create a different film altogether. Someone should have told director Tim Burton that before he signed on for the remake of Planet of the Apes.

20th Century Fox knew what a cash cow the Apes franchise was and had been attempting a remake since the late 80s. At one time, Arnold Schwarzenegger was signed on with a long line of possible directors and producers that included names such as Oliver Stone and James Cameron. Years later, Tim Burton took on the role of director with a new script that was essentially a remake of the original 1968 classic. Lawrence Konner and Mark Rosenthal wrote what was ultimately a confusing story that should have been more original. It lacked any likable characters. In the process of trying to rehash what had already been done better in 1968, they ended up confusing the fans, especially with the cliffhanger ending. Konner and Rosenthal have some good (Star Trek VI: The Undiscovered Country) and some bad (Superman IV: The Quest for Peace, The Beverly Hillbillies) films to their credit. Burton is a modern-day genius to many but any genius can have a bad film and Planet of the Apes is just that, at least in my opinion.

The movie starts off in 2029 aboard the space station Oberon. Leo Davidson (Mark Wahlberg) handles the apes specifically trained for space missions. When chimpanzee Pericles disappears in a strange electromagnetic storm, Leo takes another space pod in pursuit. He ends up crash landing on a strange planet in the year 5021. Here, apes can speak and rule a primitive society while treating humans as slaves. Leo is quickly befriended by the female chimpanzee Ari (Helena Bonham Carter) while also turning the eye of fellow female slave Daena (Estella Warren). Tim Roth is the evil General Thade, who has romantic interests in Ari while also wanting to wipe out the human race. Ari helps Leo and a group of humans escape in pursuit of Calima (eventually revealed to be mean Caution Live Animals), a holy site forbidden by the apes. A signal is being transmitted from there that Leo believes is his space station Oberon. With General Thade in hot pursuit, a clash between the humans and the apes seems inevitable.

Planet of the Apes certainly has a good cast. In addition to those already mentioned, David Warner appears as Senator Sandar and Michael Clarke Duncan is Colonel Attar, right-hand gorilla to General Thade. Paul Giamatti is slave trader Limbo, the comic relief in a film that really didn’t need any comedy. We even get cameos from original cast members Charlton Heston (as Zaius, father to Thade) and Linda Harrison. Unfortunately, what really hurts the movie is the script. It gets far too convoluted towards the end with time travel and revelations that really don’t have an impact on the audience. Even the big cliffhanger makes no sense. Sure, it’s kind of cool and maybe a sequel would have answered some questions but it seems thrown in just for shock value.

The best part about Planet of the Apes is the fantastic make-up designs by Rick Baker. They were realistic and very believable. Sure, more recent films in the franchise have stunning CGI but those of us who are old school will always appreciate good makeup and this movie has it. Too bad there was little else to hold my attention.

I recommend 2001s Planet of the Apes as a curiosity at best. Stick with the original flicks or the new franchise for some better entertainment. This version spawned a few toys and a couple of paperback novels, all of which quickly found their way into discount bins. Check it out for yourself before tracking down a physical copy of the movie so you can get an idea of the journey awaiting you.

Musical Monsters Extra – Heavy Metal (1981)

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Heavy Metal
Release date: August 7, 1981

Featuring the voice talents of:
John Candy, Joe Flaherty, Eugene Levy, Harold Ramis & Percy Rodrigues

Featuring the music of:
Sammy Hagar, Devo, Blue Oyster Cult, Cheap Trick, Don Felder, Donald Fagen, Nazareth, Journey, Black Sabbath and Stevie Nicks

Based on the original art and stories of:
Richard Corben, Angus McKie, Dan O’Bannon, Thomas Warkentin & Bernie Wrightson

Plot:
An evil force known as Loc-Nar which describes itself as the sum of all evils weaves a tale of seven stories as it shows a young girl the evil it has spread across the galaxy.

Richard’s Thoughts:
This anthology has received a wide variety of mixed reviews over the years. Some will say the stories are weak or that the animation is limited. Others will say it’s far too misogynistic and degrading towards women. Having seen this numerous times over the years, I honestly can’t argue some of these points…except when it comes to the animation. I personally think the animation holds up quite well. It’s far more traditional than a lot of today’s animated styles. Perhaps that’s because many films today lean heavily towards the anime style which I personally don’t gravitate towards.

As for the stories, they are a mixed bag to be sure. Harry Canyon works quite well as a sci-fi homage to the film noir classics of the 40s. Captain Sternn is fun while B-17 offers a lot of great visuals but has very little substance. So Beautiful and So Dangerous is a fun spaced-out ride but falls rather flat at the end. The other stories are a little interchangeable to one degree or another. However, one of the high notes is the final tale of Taarna. It’s interesting and seems to be far more serious than some of the more lighthearted entries in this anthology.

However, nobody watches Heavy Metal for stellar storytelling as they’re admittedly a little one dimensional. Some will come for the animation that is full of violence and nudity. Others will come for the early 80s rock soundtrack. Honestly, I come for the complete package. If you come into this with lower expectations and just enjoy the ride, you’ll be entertained. However, if violence and nudity offend you, you definitely need to seek out a different movie.   

Trivia:
Based on the classic sci-fi magazine, Heavy Metal initially bombed in the theaters. However, it found new life through midnight movie screenings, where it quickly gained a cult movie status. 

Availability:
Heavy Metal is available on Blu-ray.

Classic Horrors Club – Musical Monsters

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For a bit of a change of pace, in episode 95 of the Classic Horrors Club Podcast, Jeff and I discuss two films where there are as many songs as there are monsters: Phantom of the Paradise (1974) and The Rocky Horror Picture Show (1975). Both did their time on the Midnight Movie circuit before the advent of home video boosted one’s reputation and tarnished the other’s.

Be sure to check out the video companion on the Classic Horrors Club YouTube channel where we count down our Top 10… with a few exceptions due to copyright infringement.

Tell us what you think… about the movies, about the podcast, about classic horror! Call us at (616) 649-2582 (CLUB), email or send a recording to classichorrors.club@gmail.com or join our Facebook group page at https://www.facebook.com/groups/classichorrors.club/!

We’d also appreciate if you’d give us an honest rating on Apple Podcasts or SoundCloud. Thank you!

We now have an Instagram account! Look for us at classichorrorsclubpodcast. We look forward to adding more content and connecting with all of you there!

You can also find Jeff at:

Classic Horrors Club
Codex Omniversa

Next month on episode 96, it’s time to Go Ape as we’ll be taking a look at mankind’s future with the original Planet of the Apes (1968) and Beneath the Planet of the Apes (1970)!

Musical Monsters Extra – Repo! The Genetic Opera (2008)

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Repo! The Genetic Opera
Release date: November 7, 2008

Cast:
Alexa PenaVega as Shilo Wallace
Paul Sorvino as Rotti Largo
Anthony Head as Nathan/Repo Man
Sarah Brightman as Blind Mag
Paris Hilton as Amber Sweet
Bill Moseley as Luigi Largo
Orge as Pavi Largo
Terrance Zdunich as Graverobber

Written by Darren Smith & Terrance Zdunich
Directed by Darren Lynn Bousman

Plot:
It’s 2056 and after a pandemic left the world with organ failures, GenCo has risen to control the masses with organ replacements…at a very high price. If you fail to keep up the payments, the Repo Man will come to repossess the organ. And those who become addicted to surrey have also become addicted to a painkiller called Zydrate.

Richard’s Thoughts:
I haven’t seen this since about 2009, so a solid 15 years has passed. I honestly remembered very little about it other than the song “Zydrate Anatomy”, which I’ve heard numerous times over the years. Terrance Zdunich does a great job of slinking his way across the screen and making a drug pusher seem engaging. Paris Hilton’s performance in that song isn’t too bad but Alexa PenaVega is a glaring weak link. Unfortunately, her solo songs and acting performance in the film aren’t any better.

I do remember liking this film a lot more than I did upon this revisit. Paul Sorvino comes across as bored and the stylized artistic visuals haven’t really aged well. Sarah Brightman, who has an incredibly beautiful voice, is wasted here with sub-par music. I really wanted to enjoy this one more than I did but I found myself becoming impatient for the end. Looks like I’ll keep listening to the Zydrate song and skip the movie going forward.  

Trivia:
Despite the obvious similarities, Repo Men, released in 2010, was based on a novel by Eric Garcia that originated as an unpublished story dating back to 1997. 

Availability:
Repo! The Genetic Opera is available on Blu-ray.

Musical Monsters Extra – Little Shop of Horrors (1986)

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Little Shop of Horrors
Release date: December 19, 1986

Cast:
Rick Moranis as Seymour Krelborn
Ellen Greene as Audrey
Vincent Gardenia as Mushnik
Steve Martin as Orin Scrivello D.D.S.
Levi Stubbs as Voice of Audrey II

Based on the screenplay by Charles Griffith and film by Roger Corman
Based on the musical by Howard Ashman
Screenplay by Howard Ashman
Directed by Frank Oz

Plot:
When an odd looking plant materializes during a mysterious and unexpected solar eclipse, poor slob Seymour takes it home. However, he soon finds that the plant is hungry for fresh, human blood and that feeding it only makes it more hungry. Does Audrey II have more sinister plans in store for Seymour and the entire world?

Richard’s Thoughts:
It’s been decades since I’ve watched this musical version of Little Shop of Horrors, so other than memories of some of the songs, I really had no recollection of the film. What I noticed almost immediately is how it’s a much more traditional musical than Phantom of the Paradise and Rocky Horror Picture Show. Rick Moranis really does quite well while Ellen Greene was more than adequate, other than annoying me just a little with the soft and squeaky nature of her character’s voice. The musical trio of Tichina Arnold, Tisha Campbell and Michelle Weeks also help the movie move along musically.   

The numerous cameo appearances are quite fun with Jim Belushi as Patrick Martin, Christopher Guest as a customer in the flower shop, John Candy as Wink Wilkinson, a whacky radio DJ, and last, but certainly not least, Bill Murray as the pain-loving dental patient Arthur Denton. His scene with Steve Martin is a true highlight in the film.

Of course, the main highlight is the plant creature itself…Audrey II. Levi Stubbs, of The Four Tops, does a masterful job of voicing Audrey II. His big finale, including the song Mean Green Mother of Outer Space, is amplified by the amazing visual representation of Audrey II.

It was a lot of fun to revisit Little Shop of Horrors. From the top-notch cast to the music and great special effects, you can’t go wrong with this one. Highly recommended!     

Karla’s Thoughts:
This is my favorite version of the story, surpassing the original by far. I love all of the cameos and the music, especially the three singers, who provide continuity throughout the film. The music was definitely much more Broadway-esque. Steve Martin was truly hilarious but he was a little hard to watch when he was being so mean to Audrey. I love the happy ending and would gladly watch it again. 

Trivia:
The ending of the film was originally quite different but more faithful to the original stage play. At 23 minutes long, it featured Audrey and Seymour being eaten by Audrey II and the world being taken over by an army of Audrey IIs. The miniature special effects cost $5 million but, after two failed test screenings, the happy ending of the film was shot and it is what is now most commonly known as the true ending of the film.

Availability:
Little Shop of Horrors is available on Blu-ray with both the original theatrical version and the director’s cut.

Classic Horrors Club – Mr. Murder!

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Jeff and I belatedly celebrate the birthday of Ol’ Blood and Thunder, or Mr. Murder, Tod Slaughter in episode 94 of the Classic Horrors Club Podcast! Slaughter has been called a British Boris Karloff. Indeed he made a series of films in the 1930s as similar to each other as Karloff’s mad scientist movies were in the United States.

However, with his roots in the theater, Slaughter was a unique master of Victorian melodrama, perhaps best known for playing Sweeney Todd, the Demon Barber of Fleet Street, both on stage and screen. He stops short of being a moustache-twirling villain, but never retreats from a maniacal laugh.

Let your hosts be your guide for which of Slaughter’s films are hits and which ones are misses. They may not be your cup of tea, but we encourage you to take a sip. Just don’t drink too much in one sitting.

Be sure to check out the video companion on our YouTube channel. Put faces to the words… if you dare!

Tell us what you think… about the movies, about the podcast, about classic horror! Call us at (616) 649-2582 (CLUB), email or send a recording to classichorrors.club@gmail.com or join our Facebook group page at https://www.facebook.com/groups/classichorrors.club/!

We’d also appreciate if you’d give us an honest rating on Apple Podcasts or SoundCloud. Thank you!

We now have an Instagram account! Look for us at classichorrorsclubpodcast. We look forward to adding more content and connecting with all of you there!

You can also find Jeff at:

Classic Horrors Club
Codex Omniversa

Next month on episode 95, it’s time to jump to the left…and then take a step to the right…as we do the time warp back to the 70s for two classic horror musicals. First, we’ll take a look at Phantom of the Paradise (1974) and see if we’re up to the challenge of The Rocky Horror Picture Show (1975)! Join us for the late night, double feature, picture show!

Enter the Mad World of Tod Slaughter – Part Five

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We conclude this special five-part salute to the legendary Tod Slaughter with a look at two more of his films and the events leading up to his death.

The Crimes of Stephen Hawke (1936) starts off much the same way Sweeney Todd, The Demon Barber of Fleet Street (1936) did by being set in modern times. However, this film opens at the BBC Radio studios with an odd sequence featuring Flotsam and Jetsam. This duo (Bentley Collingwood Hilliam and Malcom McEachern) were a musical act involving a piano and songs filled with social commentary. What they are doing in this film remains a mystery. I’m sure they were highly recognizable at the time but now, they are all but forgotten and serve no purpose in the story. We then are graced with the presence of Tod Slaughter, who is being interviewed by the radio announcer as he talks about his villainous acts in Maria Marten, or the Murder in the Red Barn (1935) and Sweeney Todd. From there, he begins to describe the details of his next film, which we are watching, and the story then finally begins.

Tod Slaughter plays the killer of the film, Stephen Hawke, and commits his first murder within moments of debuting on screen. He is mapping out a home with obvious plans to rob it. However, he is discovered by a young boy, whom he murders off screen. Hawke is known as “The Spine-Breaker” and is leaving a trail of death throughout Victorian England. In a change of pace from his other films, he is not out to marry a young girl as he is actually a father himself. He is still a money lender, as he often is in other films, but is also a crazier killer with no real motivation.

Upon being discovered by an employee, he is forced to kill the man and then leave town. With the dead man’s son hot on his trail, Hawke ultimately returns when, ironically, his own daughter is being forced into marrying an older man after the man discovers Hawke is “The Spine-Breaker”. The movie ends with a rather good climatic rooftop scene and interesting but non-relevant reveal at the end. Our final scene oddly returns to the BBC studio with Tod Slaughter leaving the now-sleeping radio announcer as he chuckles off screen. The Crimes of Stephen Hawke offers a different take on the familiar Tod Slaughter storylines. It is well-worth tracking down and, at less than 70 minutes, is an easy and enjoyable late-night flick.

In 1940, Slaughter was back to his killing and blackmailing ways in Crimes at the Dark House. In the opening moments of the story, Slaughter is a killer who murders Sir Percival Glyde in Australia and decides to assume his identity in order to inherit his England estate. The real Glyde had been gone so long that nobody remembers what he looked like. Once he has acquired the estate, the fake Glyde begins scheming to marry a rich heiress for her money while killing all who suspect he may be an imposter. The story is loosely based on the novel The Woman in White by Wilkie Collins and is actually one of Slaughter’s better and more cohesive stories. The usual elements are there but done well enough that they don’t seem too repetitive.

With the arrival of World War II, the British film industry went dark and Slaughter returned to the stage in such horrific roles as Jack the Ripper and Mr. Hyde. Once the war was over, he returned to the screen as Spring-Heeled Jack in The Curse of the Wraydons aka Strangler’s Morgue (1946) and in adaptation of Burke and Hare in The Greed of William Hart aka Horror Maniacs (1946). He continued to grace the stage as the film roles decreased, playing opposite a young Peter Cushing in The Gay Invalid as well as various early television appearances. He was still starring in a Maria Marten play when he fell ill and died of coronary thrombosis in 1956 at the age of 70.

Slaughter’s films were quickly forgotten and, most likely, would have remained that way were it not for film historian William K. Everson. Everson introduced many rare films through his screenings and the Theodore Huff Film Society. Everson’s original film notes are available online and highly recommended reading. As the video generation gave birth to an ever-increasing number of film buffs, Slaughter is slowly being rediscovered to this day. With the recent release of the Tod Slaughter box set by Indicator, I hope that an even greater number of horror fans seek it out to discover and enjoy Tod Slaughter on their own.

While Tod Slaughter will never be considered an equal to legends like Boris Karloff or Bela Lugosi, his melodramatic horror films are certainly worth checking out. When the next rainy night leaves you searching for something to watch, do yourself a favor and discover Tod Slaughter.

A version of this article was originally published in February 2015.

Recommend Reading: Mr. Murder: The Life and Times of Tod Slaughter by Denis Meikle, Kip Xool & Doug Young is available from Hemlock Film.

The Criminal Acts of Tod Slaughter: Eight Blood-and-Thunder Entertainments, 1935-1940 is available on Blu-ray from Powerhouse Films.

Slaughter Side Trip – Sexton Blake and the Hooded Terror (1938)

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Sexton Blake and the Hooded Terror
Release date: February 1938

Cast:
George Curzon as Sexton Blake
Tod Slaughter as Michael Larron
Greta Gynt as Mademoiselle Julie
Tony Sympson as Tinker

Based on the story The Mystery of Caversham Square by Pierre Quirole
Screenplay by A.R. Rawlinson
Directed by George King

Plot:
Sexton Blake and his sidekick Tinker match wits with the criminal mastermind known as The Hooded Terror.

Richard’s Thoughts:
This film stirs up the status quo a little with Tod Slaughter in a supporting role alongside George Curzon’s low-rent Sherlock Holmes wannabe, Sexton Blake. Slaughter does play the villain (of course) and is pining after Mademoiselle Julie (naturally). His character of Michael Larron aka The Hooded Terror, is essentially a Professor Moriarty-type arch rival to Sexton Blake.

Slaughter turns in his usually good scene-chewing performance. He just needed a more worthy hero to match wits with. Unfortunately, Sexton Blake isn’t quite it. I understand that Blake has his fans and is well-loved as an alternative to Sherlock Holmes. But in that comparison lies the problem for me. Here, he simply isn’t on the same level and his sidekick Tinker comes nowhere close to being as effective as Dr. Watson usually is. However, comparisons to Holmes were soon abandoned in his literary adventures. So, I can only assume the strong Holmes comparisons here are due to a conscious decision to do so from the director and screenwriter.

While Sexton Blake and the Hooded Terror suffers because of that decision, in my opinion, I still enjoyed the film to a degree. But it is my least favorite of the Slaughters’ films from this time period. Yet, I would revisit this at some point in the future to see how my opinion might change over time. 

Karla’s Thoughts:
I struggled with this one because of the similarities between Sexton Blake and Sherlock Holmes. However, Sexton is definitely no Sherlock as he really didn’t figure anything out with his very low powers of deduction. The plot really was all over the place and I never really understood the Asian connection. Slaughter was good in his usual villain role but not his best performance. I did enjoy this one but I wouldn’t watch it again. I’d rather find a good Sherlock Holmes movie instead. 

Trivia:
The character of Sexton Blake was created by Harry Blyth in 1893 and has since appeared in more than 4,000 by over 200 different authors. He’s also appeared on stage, screen and radio.

This was George Curzon’s third and final appearance as Sexton Blake. His two previous films were Sexton Blake and the Mademoiselle (1935) and Sexton Blake and the Bearded Doctor (1935), both of which also featured Tony Sympson as Tinker.

Availability:
The Ticket of Leave Man is available on The Criminal Acts of Tod Slaughter: Eight Blood-and-Thunder Entertainments, 1935-1940 box set available on Blu-ray from Powerhouse Films.

Recommend Reading: Mr. Murder: The Life and Times of Tod Slaughter by Denis Meikle, Kip Xool & Doug Young is available from Hemlock Film.

Enter the Mad World of Tod Slaughter – Part Four

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As we continue our retrospective into the career of Tod Slaughter, our next two films have very similar themes with slightly more horrific storylines. Both contain murder and deceit as well as torture and a maniacal madman.

Our first film this week is It’s Never Too Late to Mend (1937). Tod Slaughter heads up the cast as Squire John Meadows. He is the justice in the village as well as the local prison administrator. While most in the village believe him to be a trustworthy and upstanding citizen, those within the prison walls know him to be cruel and sadistic. Our story begins as people are leaving church and the Squire immediately makes his evil intentions known. He has eyes for the lovely Susan Merton (Marjorie Taylor) but she is interested in poor George Fielding. Her father sees no future for her in marrying George but also resists the Squire’s intentions upon his daughter. However, when the Squire saves Susan’s father from financial ruin, he becomes indebted to the Squire and forces Susan to marry him. However, George has left the village in search of fame and fortune. Upon returning, the Squire begins to show his true colors and turns to bribery and theft to ensure George is penniless, leaving Susan with the only choice but to marry the Squire.

The real horror in this film centers on the prison scenes. It is there that the Squire is in his real element. Addressing the inmates as his children, he relishes in their torture. He forces men into solitary confinement via a cell that is completely cut off from the outside world. A poor boy is encased in a cage and tortured, his only crime being the theft of some bread for his starving mother. Slaughter clearly has the “conniving rich man bribing the father of the young girl” role mastered. However, seeing him as the evil prison administrator was refreshing. One wonders if Boris Karloff was channeling Slaughter when he filmed Bedlam some nine years later. There are definite similarities at times. At a brisk 65 minutes, It’s Never Too Late to Mend is entertaining despite its obvious low budget and overall staged presentation. You’ll also have to get past the somewhat heavy handed religious melodrama from the prison chaplain, but it’s worth sticking it out to the end.

In 1939, Slaughter starred in what is one of my personal favorite films of his that I’ve seen to date. In The Face at the Window, Slaughter stars as Chevalier Lucio de Gardo, a bank examiner who is investigating a robbery at a bank in Paris. There are some immediately recognizable themes as he shows interest in the lovely Cecile de Brisson (Marjorie Taylor). As usual, she loves another, this time being Lucien Cortier. Lucien works at the bank under her father. He is quickly framed for the robbery by Lucio de Gardo, who is actually behind the theft. The tale turns murderous as Cecile’s father is murdered by Lucio de Gardo, who has discovered that Lucien was framed. Meanwhile, a murderous wolf man is being seen through windows and a trail of death follows.

Slaughter isn’t quite as over-the-top here and I think this film stands out with better production values and a less conventional story. The horrific images of the wolf man are effective, if not a little low budget. The reveal comes quickly at the end of the film and offers up a surprising twist that is never even hinted at earlier in the story. Overall, I think this is one of Slaughter’s best efforts and is well worth a viewing, especially considering its brief running time and easy availability.

Next time, we conclude our five part series on Tod Slaughter with two more films and the twilight of his career.

A version of this article originally published in February 2015.

Recommend Reading: Mr. Murder: The Life and Times of Tod Slaughter by Denis Meikle, Kip Xool & Doug Young is available from Hemlock Film.

The Criminal Acts of Tod Slaughter: Eight Blood-and-Thunder Entertainments, 1935-1940 is available on Blu-ray from Powerhouse Films.