From Zombos Closet

May 16, 2024

Roger Corman Movies:
Radio Spots to Remember

Roger Corman on set

Granny Creech digs deep to uncover memorable radio spots for Roger Corman movies…

I was invited over to my daughter Drusilla’s house this past Sunday to celebrate Mother’s Day. Her husband, Winslow, was there, as was my son, Arthur, and his wife Letitia (Letty), along with a whole bunch of little monsterkids-in-training. My grandson, Big Abner –Arthur’s and Letty’s son – couldn’t make it because he had some out-of-town business to finish up. He hoped to be there later.

After a fine meal we all retired to the rocking chairs and swing on the front porch and lazily sipped our glasses of sassafras tea. The topic of conversation turned to scary movies and we each took turns naming our favorites. The titles were as varied as the personalities on the porch: the men liked the old Universal movies, the women liked the Universal classics of the ‘50s, and I liked them all, especially the lower budget movies of the 1950s.

It was at this point that Big Abner came running up the sidewalk, panting, and between gasps said, “Roger Corman has died!”

A silence fell over the group. We had lost a great one. …

Roger Corman’s World
We Welcome It

roger corman's world documentary
Zombos Says: A Fun Documentary

“By mistake, he actually made a good picture once and awhile.” — Jack Nicholson, Corman’s World: Exploits of a Hollywood Rebel

“Taste was out of the question.” — Martin Scorsese, Corman’s World: Exploits of a Hollywood Rebel

Cinema Trash filmmaking is an art form–seriously, it is— and its greatest ideologist and practitioner is Roger Corman. He didn’t invent cheap sensational movies, but he knew how to make them highly profitable and when to kick-start a trend or exploit it to sell more theater seats (or drive-in car slots).  Soft-spoken but craftily articulate, Corman is the star of Alex Stapleton’s no frills documentary, Corman’s World: Exploits of a Hollywood Rebel, which highlights how Corman ignited the careers of actors and directors who embraced–more like succumbed to, really–his pragmatic, and unwavering, bottom-line focused, moviemaking eye.

I first became acquainted with Corman’s work through The Terror, a movie whose inexplicable mix of budget-friendly moments and left-over sets went unnoticed by my 7-year-old eyes as I ruined my parents night out. I couldn’t help it. I refused to stay home with the babysitter so they had to take me along to the Loew’s Oriental theater (this was in Brooklyn, New York). I quietly sat between them as I watched Jack Nicholson, Dick Miller, Boris Karloff, and Sandra Knight chew up the gothic scenery, not really understanding what was happening. Of course, after the five or so directors got through with it, no one else did, either. I’m sure I had hit up the concession stand for treats, but I don’t remember what I ate. What I do remember is that scene: Helene (Sandra Knight) melting away into brown goo after Andre (Jack Nicholson) rescues her. That I remember. I blame Corman for hooking me on horror movies because The Terror is the first one I saw on the big screen (or small, for that matter). …