Zombos’ Closet…a vast trove of endearingly cheap thrills, including movie and book reviews, and scans of his collections of cinema pressbooks, goofy paper-cutout Halloween decorations, and his amazing collection of Mexican lobby cards from B-grade films. If you have time to descend into a serious rabbit-hole of marvelous trash-culture nostalgia, visit that site just as soon as you possibly can.” (DangerousMinds.net)
The 12-page pressbook for National General’s The Light at the Edge of the World (1971) from It Came From Hollywood. Paul says: “It’s a pretty standard NG pressbook, pretty low on frills, but it did come with one outstanding item you didn’t often find within a pressbook. It is a theater herald mock-up with fantastic artwork, and printed on parchment paper. I’ve included a scan of the herald along with a photo. The scan kind of flattens out the greatness of the herald, so I included a photo so people could get a finer look at it. This is another one of those books I’ve had for years but only recently cracked-open to do a scan on. The herald was in the middle of the book, so I had no idea it was there.”
Not a box office fire cracker, this Spanish-American adventure movie was a passion project for Kirk Douglas. Based on the Jules Verne novel, the script turned much darker as pirates mix it up with shipwrecked survivors. The movie adds a female character not in the novel, Arabella, played by Samantha Eggar. It’s a period film set in 1865 centered around a lighthouse. The pirates screw up the light to wreck ships and collect the floating booty. Kirk Douglas as Denton aims to rescue Arabella and stop the pirates. The captain leading the more brutish pirates is Kongre (Yul Brynner), and, of course, he’s cultured but sadistic (a character that Brynner could easily pull off).
Just given what I wrote above, the movie is well worth a watch, but just not one for the 1970s, a decade when movies were transitioning in the New Hollywood. Hard to say what killed the buzz on the movie, but period films were plentiful in the 1970s. By 1975, the birth of the blockbuster kicked in too. While marketed as a Jules Verne adventure, it was not suitable for family audiences given its darker and violent tone and scenes, although the U.S. release to theaters was edited to PG, so the re-editing, the poor miniature work, and the overall tone of an “older” movie, at a time when younger audiences were taking up more seats in theaters, pretty much ran the movie aground. …
The Light at the Edge
of the World (1971)
PressbookRead More »
You have to love the movie titles in the 60s and 70s. Today the title would be more like Door to Door Dangerously Manic Person, which doesn’t quite carry the immediate emotional concern that “maniac” carries. Special thanks go to our resident maniac Paul, at It Came From Hollywood, for this and his research that follows.
“According to the AFI catalog, “Door to Door Maniac” (also known as “Five Minutes to Live“) started production in March 1957. After three years of production and less than 30 days of filming between 1960 and 1961, the movie premiered in Dallas, Texas, in December 1961. The less than 30 days of actual filming make sense if you’ve seen the picture. The three years it was in some form of production is the real head scratcher.
“Produced by Flower Film Productions, a “one and done” production company headed by a mysterious figure known as Ludlow Flower. I say mysterious because Ludlow Flower left no trace that he even existed on planet Earth outside of this motion picture, save for a few mentions in some unclassified documents released by the F.B.I. concerning organized crime. Draw your own conclusions on that one. …
It Came From Hollywood sends us the Horror of the Blood Monsters pressbook, along with Paul’s reminiscence.
“A press book that is very close to my heart.
“Horror of the Blood Monsters was produced and distributed by Sam Sherman’s Independent-International Pictures. I-IP was created by Sam and Director Al Adamson (who passed in 1995.) Sam Sherman passed away on Monday, September 29, 2025, at the age of 85. I never met Sam Sherman in person, nor had I ever talked to the man via phone, but I felt a huge sense of loss when he passed away.
“I had toiled away, along with my fellow editors, on Sam’s book “When Dracula Met Frankenstein: My Years Making Drive-In Movies with Al Adamson” which was published in July of 2021.
“Starting around 2017, genre legend, and long-time Sam Sherman confidant, Tim Ferrante, gathered a gaggle of die-hard I-IP fans to aid in putting together a book based on Sam’s recollections and recorded audio-commentary tracks. This was a super-secret project and the lot of us were admonished to not share what we were working on, on any social media avenue, and we didn’t. Mostly because we had no free time to share what we were working on. The bulk of this book, Sam’s memories, literally took up all available free time within our group. From the start of the project to the end it encompassed about five years. But, for the group of us involved in putting the book together, the time it took to make it happen was not of concern. We all did it out of love for the I-IP films and our distinct appreciation, and admiration, for Sam Sherman. …
Welcome, all lovers of space operas! Welcome to my Radio Spot Reliquary.
Ahh…the holidays: Time for family, friends and fun. And time for binge-watching favorite movies!
I love science fiction movies, especially outer space adventures. Spaceships, aliens, laser weapons, space torpedoes, spaceship dogfights, distant planets and people in peril. Those types of movies have always been in demand and have been some of the best-loved sci-fi movies.
Just the mere mention of the character’s names conjures up images of amazing scenes, damsels in distress and action, action, action! Names like Buck Rogers, Flash Gordon, Rocky Jones, Tom Corbett, Captain Video, Commando Cody and Col. Steve Zodiac (how many of you remember that name?) promised non-stop action on both the big screen and on TV. For kids growing up in movie theaters and in front of the television, it was true escapism at its best.
To be expected, the movies and characters created very loyal fan bases, and many arguments developed over which character, serial or movie was best. That continues to this day as the two most endearing movie franchises continue to offer fans fodder for discussion and argument. Of course, I reference the two which have ingrained themselves into the psyche of modern society: Star Wars and Star Trek. …
Star Trek II: The Wrath of Khan (1982)
Radio SpotsRead More »
Even if you aren’t a budding horror maestro itching to lens your first indie testament to terror, you will learn a lot about how good movies get made, not just horrors, in Sara Caldwell’s Splatter Flicks: How to Make Low-Budget Horror Films. The reading is smooth as pâté spiced with essential experiences and guidance from pros in the field who worked themselves through and upward in their filmmaking craft.
I have watched quite a few horror movies over the years, beginning with Shock! Theater and the television horror hosts. I was seven when my parents, short of a babysitter, took me to The Terror. I sat between them, barely comprehending the movie (which I found out, years later, no one else did either), and never forgot watching the love interest melting like a wax candle in the arms of Jack Nicholson at the end. With movies like that, you kind of wish this book was available back then.
There are so many elements that go into making a worthwhile, an entertaining, and a good movie, especially one that aims to scare you. Caldwell breaks it down logically and concisely, outlining the functional aspects involved with making a low-budget horror film: the dynamics of the miniscule budget you are working with; what should be in the script and what to keep out; the joys and sorrows of funding your magnum opus on a shoestring; the essential pre-production phase; the often nail-biting production phase, and getting a grip on the whole enterprise from team members, props, catering, permits, insurance, actors, to eventually realizing your inner directing goals through the camera and editing.
Even if the goal is to make a quick buck-or-two sale to a streamer, at least make it watchable. I can’t believe how many movies I channel surf to, start, and within five minutes toss the remote at the screen. Whether due to clumsy direction, an awkward script or a poor actor in the wrong role, the movies were duds.
This book will help keep you from making duds. While not exhaustive—no one book could be—Caldwell provides a complete and essential foundation to be aware of and to build on, especially because of that low budget. More importantly, it is a fun read with important explanations and definitions that will elevate you up a notch from being a pure newbie to a more knowledgeable novice. …
Splatter Flicks:
How to Make Low-Budget Horror Films
Book ReviewRead More »
Happy New Year 2026!
Land sakes! Your old Granny is tired!
Here we are in a new year, and the last one ended in a whirl of activity. The last time we visited, Halloween was upon us. It was a magic time here in Squirrel Hollow with lots of fun and excitement. The kids had a ball. Let me tell you about it.
Everyone went out of their way to ensure that their houses were as creepily decorated as possible, and that treats of all sorts were plentiful for the trick or treaters. Before the night arrived, we heard that a school in an adjacent community was sponsoring a huge “Trunk or Treat” event and they went all out promoting it. That aggravated many of our town’s Halloween fans and we wondered what we could do to offset the draw of this event. Leave it to good old Uncle Oscar, caretaker at Witchwood Cemetery, to come through. After conferring with all the residents, it was decided to hold our first “Crypt or Treat” event ahead of our usual Monster Bash.
All of the crypts, tombs and graves at the cemetery were opened and decorated with all sorts of Halloween fare. The residents really got into it and offered up all kinds of ghoulish and ghastly treats for the visiting, costumed children. We held it starting at 8:30 PM, just after most kids finished terrorizing the neighborhood houses for treats. This allowed them time to visit the cemetery residents and still make it home at a decent hour in time for bed. At midnight, of course, the Monster Bash was held. The feedback was all positive and the kids had a blast, getting treats from the residents and trying to decide who had the scariest costumes, the corpses and decayed bodies or the kids. It was a graveyard smash!
Thanksgiving came and, after dinners with all the families, my great granddaughter, Grizelda, approached me saying her school was having a Christmas fundraiser to help needy families in Squirrel Hollow and surrounding communities. She was out soliciting donations for items to be rummaged off the week before Christmas. She wondered if I would be able to come up with enough of my homemade Witch’s Brew to help her out. I said sure, and asked how much. She said 400 gallons would probably be enough.
When I came to, I asked her if she was certain she needed that much. She said my Brew was known far and wide and was sure to be a bestseller. I told her I would have to get started right away and it would require me working practically day and night. She said she would help. I said OK.
Needless to say, we met the deadline and I was worn out. However, we were able to raise enough money to provide a nice Christmas dinner and toys to one hundred of the most needy families. They were grateful, our community felt good, and the true spirit of giving was nurtured. It was a magnificent Christmas in Squirrel Hollow.
I recovered just enough to see in the New Year with family and friends. We toasted each others’ health and wished for untold blessings to be ours in the coming year.
When things settled down and returned to normal, I began to think of all the blessings 2025 had brought and pondered what new opportunities would arise in 2026. It was then I realized that I had neglected my articles to Zombos’ Closet! I was mortified! It was hard to shift mental gears from holiday activities to radio spots. What would I do?
I fretted and worried. I called up Zombos’ Closet on the computer and, lo and behold, there was my answer. Zombos had featured a pressbook to Dawn of the Dead (1978), courtesy of It Came From Hollywood. That was it! I could offer a great tie-in!
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ZC Note: I wrote this movie review for It Came From Hollywood Book 6: The Movies From 1984. It Came From Hollywood publishes a series of books that are enjoyable and informative. I write for them, now and then, and aside from getting paid for the piece, I receive no money for telling you their book series is enjoyable and informative to read. You can find that out for yourself. Also, anytime I link to a book on Amazon, I do not monetize it. Just thought you should know because I just think you should read it.
Purana Mandir (The Haunted Temple), a Hindi horror movie. There, I said it. Now it is up to you to turn the page or stay here. I know, I know. Hindi horror? Bollywood? Dancing, singing, slapstick comedy, and bhoots (ghosts) possessing people? Wild, right? But the Ramsay Brothers (taken from their family name, Ramsinghani), all seven of them, were avid horror fans. Heavily influenced by American movies that focused on a powerful supernatural evil being, they moved away from the usual ghostly haunts and created their own monsters instead, bringing a new direction to India’s horror genre.
Beginning with Darwaza in 1978, the Ramsay terror formula mixed a masala of traditional Indian cultural and religious values and symbols with American-styled terrors, along with the requisite comedy interludes and songs, some blood and ghoulish gore, graveyards, zombies, haunted houses, and stylish set pieces garnered from watching Hammer, Universal, and 1970s and 80s American horror fare. Listening to Ajit Singh’s soundtrack in Purana Mandir you will hear scoring that evokes Hammer terrors, surges with prowling Universal monsters, and chills with beckoning devilish vocals reminiscent of The Amityville Horror. Ramsay horror took ancient evil and placed it in a contemporary setting. …
Here’s a pressbook you can’t escape, from Paul over at It Came From Hollywood.
“In 1992, I bought a rather huge clutch of pressbooks from a collector who was getting out of the business. This was a “cold” buy, meaning I had no idea what I was getting for my money. I paid $200 for the collection. A king’s ransom back then, and because I lived the life of a carefree single gent living in the City of Chicago at the time, what I bought and when actually had escaped me over the years. Fast forward to 2021. Thirty years later. I finally (believe it or not) get around to digitizing those pressbooks, and I discover that, slipped into some pretty standard large-sized Paramount pressbooks, was this UFD Dawn of the Dead nugget. I was absolutely floored because I had never run across a Dawn pressbook in my life. I hadn’t even viewed one online.
“In 2023, I published the complete Dawn pressbook in It Came From Hollywood Book Four. I received some positive feedback on it as fans of the movie were, for the first time, ogling the actual pressbook. Now, three years later (and 33 years after I acquired the original book), I am happy to share the Dawn of the Dead-U.S. Pressbook (1979) with visitors to Zombo’s Closet, where it will be archived for generations to come.” (ZC Note: Thanks, Paul! George A. Romero’s DOTD is a classic.)
Tom Keene had a flexible career in cowboy movies, where he appeared as different cowpokes, bucking the trend of a single persona like Tom Mix or Roy Rogers. From cowboys to more upper and lower scale movies, he changed his name to Richard Powers in the 1940s and played Colonel Tom Edwards in Plan 9 From Outer Space, and a major general in Red Planet Mars. He did a lot of television work appearing in Adventures of Superman and Death Valley Days. He even found time to do Broadway in the 1940s. Not one to be pegged to any one role or genre, he eventually retired from acting in the late 1950s and hawked insurance and real estate. Luana Walters also had a busy career, starring in movie serials like Shadow of Chinatown with Bela Lugosi, Superman, and Captain Midnight. She starred with Bela Lugosi again in The Corpse Vanishes as the feisty reporter. Her last movie role was in The She-Creature in 1956.
Tom Keene began his acting career as George Duryea, starring as Abie in one of the touring companies for Abie’s Wild Irish Rose, a Broadway hit in 1922. From there he took the male lead in Cecil B. De Mille’s The Godless Girl from Pathé Studios. He did more features for Pathé and other studios, and in the early 1930s he took the name Tom Keene beginning with RKO’s The Sundown Trail. Seeing success in Westerns, but fearful of being typecast, he left Hollywood for summer stock. When he returned, he took on varied roles in various movies beginning with King Vidor’s Our Daily Bread. His plan to not be typecast worked well, except for the problem of not achieving the notoriety and stardom that a consistent onscreen persona would have given him. So he returned to Westerns for a few years, but then left the silver screen for a stage play that bombed. He moseyed back to Hollywood and continued working with RKO and Republic, eventually turning to television westerns and retiring to the dusty trails of real estate and insurance sales. One important note: Rita Cansino eventually changed her name too: to Rita Hayworth.
(Research: Riders of the Range: The Sagebrush Heroes of the Sound Screen by Kalton C. Lahue and B-Westerns at https://www.b-westerns.com/tkeene.htm.)
One of the last cowboy stars of the silver screen, Rex Bell began riding horses and packing heat in the late 1920s at Fox. When movies switched to sound he shifted into the Bs, both westerns and actioners, with many made for Monogram. Those movies mixed in a more modern (for then) setting along with the cowboys, including gangsters and fast cars (again, for then). He met the It Girl, Clara Bow, when they worked together in the 1930 film True to the Navy. They married in 1931 and settled into their Walking Box Ranch near Searchlight Nevada. Bell’s final film was The Misfits in 1961.
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Paul at It Came From Hollywood brings you a Shock! memory all monsterkids savor.
“In 2015, I began poring over issues of Broadcasting Magazine. A wonderful database of which is available at worldradiohistory.com. Initially, I was just hunting around for anything related to movie packages for television. I started in the early 1950s, but suddenly decided that I should focus on looking for any ads related to the Screen Gems Shock TV package. Once I found the first ad in 1957, I went headfirst into that rabbit hole and looked over every issue from 1957 to 1959. 156 issues. 100 pages per issue, I now realize I looked at 15,600 pages of this trade magazine just to find a few nuggets. Since this insane research happened a decade ago, I can’t be certain how long it took me, but my wife assures me that it took long enough.
“The result of this bottomless research project was 16 trade ads, all published at the absolute height of Screen Gems Shock package success. Each one is a glimpse into the excitement and astounding draw the package had across the country in every major and minor TV market. It was this specific movie package for television that gave birth to what we know now as the “horror movie host.” But, for adults in 1957, those specifically involved in TV on every level, it was a windfall. It is interesting now to look over these trade ads and realize that this was the birth of movies being sold to TV, something people of my generation (I was born in 1973) simply took for granted because we grew up watching movies on TV before we ever stepped into a theater.
“15 of these ads are Screen Gems SHOCK specific. Including an ad for the follow-up package called Son of Shock. I’ve also included a bonus ad not from Screen Gems, but from A.A.P. for their “Horrors” film package, which was basically 52 films NOT owned by Universal. Interesting to note that A.A.P. was keenly aware that the Screen Gems package was going to draw viewers. The A.A.P. ad appeared on 9-30-1957, one page after Screen Gems’ “Never Before on TV” trade ad. Ahh, the good old days of Television, no good idea ever goes un-stolen!”
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