From Zombos Closet

JM Cozzoli

A horror genre fan with a blog. Scary.

Movie Pressbook: Ghost of Frankenstein (1942)

Professor Kinema pulled out a Xerox copy, buried deeply in his archives, of this pressbook for The Ghost of Frankenstein. The movie stills in the copy didn't scan well, but overall you will find this a treat, especially when you consider how difficult it is to find this pressbook, and the cost when you do. (Note: I'm not sure if this copy contains all of the pages in the original pressbook.)

What piqued my interest the most, however, is the wartime publiclity angle on page 7. Will the Nazi Frankenstein Monster Follow the Famous Legend and Destroy Its Makers, timely monster contest.

"Cash in on the times with a patriotic contest calling for letters stating how and when entrants think the Frankenstein Monster created by the Axis and now endangering the world will turn on its Nazi makers just as the screen monster in "The Ghost of Frankenstein" turns and destroys its creator."

ghost of frankenstein pressbook
ghost of frankenstein pressbook
ghost of frankenstein pressbook
ghost of frankenstein pressbook
ghost of frankenstein pressbook
ghost of frankenstein pressbook
ghost of frankenstein pressbook

Double Bill Pressbook:
Night of the Blood Beast
and She Gods of Shark Reef

This folder styled campaign manual for Night of the Blood Beast and She Gods of Shark Reef double bill is approximately 11 x 15 inches when folded, and highlights the sensational poster art depicting damsels in distress. The use of strategically placed Leilani flowers in the She Gods of Shark Reef Poster  is inspiring, isn't it?

she gods of shark reef pressbook
she gods of shark reef pressbook
she gods of shark reef pressbook
she gods of shark reef pressbook
she gods of shark reef pressbook
07
she gods of shark reef pressbook
she gods of shark reef pressbook
she gods of shark reef pressbook
she gods of shark reef pressbook
11
she gods of shark reef pressbook
Here's a shot of the the opened folder showing the slightly overlapping For Profits! column. Unfolding the page on the right opens the folder into three sections, with the middle section holding the separate promotion sheets for each movie for an impressive commercial presentation.

Total Recall (2012)
Not Too Memorable

Totalrecall

Zombos Says: Good

Watching the action unfold in director Len Wiseman’s Total Recall, I couldn’t help but compare it to the Arnold Schwarzenegger and Sharon Stone star vehicle of the same name. But that movie was in 1990, when writers could play around the science fiction edges with cheekiness and guile and directors couldn’t overplay their hand with computers and saturate us with non-stop action hurtling through uber landscapes filled with mini and mega structures moving with tantalizing, but numbing, techno-complexity and velocity. But now is now, after all, and cinematic now is filled with the heat of global meltdowns, the incessant beating of warring drums, a tiresome fusillade of political bull dung flying in all directions, and a lot of sour and dour events preoccupying our thoughts. So it’s only natural science fiction movies, super hero movies, and movies formerly filled with imagination and inspiration, now, have tuned down the inspiration while hustling us faster, and very predictably, through a patented and familiar imagination.

Instead of becoming involved with characters through association or taking wild rides to Mars and having our eyes comically bug out from the lack of oxygen, we’re enveloped by hover car chases–albeit breathtaking hover car chases–evocative, rainy, cityscapes dotted with dreary hanging apartments that seem to sprout out of the congested city’s concrete megastructures like weeds thriving in the incessant rain, and homogeneous huddled masses yearning to find a free space in all the hubbub or, at least, a cool palm phone. So yes, this Total Recall‘s production design by Patrick Tatopoulus is stunning and easily runs away with the film while leaving its script a tad short on wit and gumption, but tall on action of the bullets flying, people dying, and big send off explosions kind.

The Fall figures heavily in all this pyrotechnic destruction and sets up the Metropolis-like dystopian dynamic for the two class structures–the wealthier United Federation of Britain and the poorer Colony–both vying for habitable land after Earth is decimated by chemical warfare. The Fall is a gigantic gravity elevator that travels through the planet between the two nations, bringing Colony workers to and from “below,” to toil at building synthetic police (THX 1138 anyone?) for the UFB. The Fall provides the film’s more intense moments and thorough special effects, but the plausibility factor is nil and a pivotal (I’m being literal here) standoff borders on the periphery of silliness: elite commandos conveniently fail to realize something important about the daily commute and they lose their advantage because of it.

Plausibility wobbles again when factory worker Douglas Quaid (Colin Farrell), plagued by a violent dream with a mysterious woman and dissatisfied with his assembly line life, heads to ReKall, the happy memories franchise. He gravitates to their secret agent memory product, but implanting fake memories over real, similar ones stops the process cold and sends Quaid on a bumpy and lumpy journey to discovering who he really is. In-between all his huffing and puffing as he runs from his wife (a guns-blazing and hips hugging typecast Kate Beckinsale) and UFB President Cohaagen’s (Bryan Cranston) police force, he stops long enough to find clues to his past in places I thought the police should have gotten to first, like his safe deposit box and his former apartment, since they know who he really is even if he doesn’t.

The woman in his dream, Melina (Jessica Beal), much like Maria in Metropolis, provides the romance and the reason for his actions. Unlike Maria, she also wields a mean handgun, drives a hover car better than Mike Mercury, and kicks ass more believably than the wispy Beckinsale. Melina helps Quaid find Matthias (Bill Nighy), the leader of the resistance against Cohaagen’s political meanderings. Unfortunately, Matthias is not as interesting as his namesake in the original and doesn’t have a mutant humanoid brother living in his belly.

With the main storylines of both Total Recall movies being similar, what’s the difference here to warrant a remake? If blazing action, dispensed heavily through computerized imagery and wild futuristic technology is your bag of popcorn, than this movie is definitely for you.

Movie Pressbook: Atragon (1963)

This neat pressbook for Toho Studios Atragon is 11 x 17 inches, printed in landscape orientation. I'm a sucker for movies with super technological vehicles and Atragon is one of my favorites. Besides, you've got that unique Toho Touch for concise special effects and storyline (see Famed Special Effects Team Give Atragon Top Thrills article).

One page sheet has been neatly cut from the pressbook. The seller I purchased this from said all the copies of this pressbook he has seen have that same page-sheet removed. So there you have a mystery! I'm open to any solutions you may have. Sorry for clipping the last sentence on one page, and the pages do not appear in their correct order.

atragon pressbook
atragon pressbook
atragon pressbook
atragon pressbook
atragon pressbook
atragon pressbook
atragon pressbook
atragon pressbook
atragon pressbook
atragon pressbook

Remembering the Saturday Afternoon
Spook Shows

Spook ShowProfessor Kinema remembers…

The recent announcement of the closure of a movie theater I regularly attended as a kid invoked many memories. The Saturday afternoon kiddie-matinee (a term I always took exception to, even as a kid) often consisted of a kid-friendly feature film, a few cartoons, and even a chapter of a resurrected serial.

Inside the theater the pervading atmosphere was one of chaos. Similar scenes have been well depicted in such films as Stoogemania, Tim Burton’s Ed Wood, and to a lesser degree in Joe Dante’s Matinee. Like the Josh Mostel character as a boy, Howard F. Howard of Stoogemania, I believed I was the only kid in this feral audience who was truly interested in watching what was happening on screen. To add to the madness, this theater offered what select theaters across the country were offering during this era: a Live Spook Show.

When the movie ended (like anyone would even notice) a business-suited man stepped out on the stage in front of the screen. Bathed in the glow of a harsh spotlight, he attempted to restore some order to the mayhem.

Once he got at least the minimal semblance of attention, he announced the theater was surrounded by spooks, and even more, a mad scientist would appear on this very stage and make a monster! Frankenstein, the Wolf Man, and a few assorted other creatures were likely to make appearances. Suddenly from the rear of the theater could be heard a blood curdling scream. All heads turned to catch the sight of a hapless female being pursued by a madman wielding a meat cleaver. The girl ran, still screaming, down one aisle, across the front and then back up the other aisle. The madman always managed to stay a few steps behind her, waving the weapon at the audience as well.

On stage, the announcer hastily departed. In his place came a shabby looking mad doctor and a few odd (very odd) assistants wheeling out what appeared to be a makeshift operating table. On the table was a large humanoid figure covered with a blood stained sheet, ugly feet protruding. A few, tinkered together, electrical devices where then set in place.

As the electricity flowed, the sheet stirred and whatever was underneath sat up, with the sheet falling off to reveal a monster!  It didn't resemble the Frankenstein monster in the least, but it was assuredly a monster. Immediately, this monster became  out of control and was set upon by the mad doctor and his assistants. All were quickly knocked to the ground. The monster turned to the audience, threateningly, but from stage left appeared … the Wolf Man! A battle ensued.

SpookShow02Dust was churned up and the lights dimmed. While growling and snarling, the unholy duo disappeared off stage. To this day I can’t recall who was the victor.

The live, monsters-in-your-face era of Saturday afternoon entertainment reached through the 1960s, embodied by Ray Dennis Steckler with his Hallucinogenic Hypnovision, and incorporated the mad slasher chasing hapless female scenario in such classics as Incredibly Strange Zombies, who Stopped Living and Became Crazy Mixed Up Zombies. Reportedly, he took his innovation one step further by accomodating outdoor drive-ins.

Spook ShowI got a strong feeling of community with these long gone live stage shows. During this Saturday afternoon melee, the cleaver wielding madman and his intended female victim managed one last dash through the theater. Upon closer examination of both of them, they bore a striking resemblance to a guy and his girlfriend who were in a grade or two ahead of me in school. I wonder what they're up to today?

–Jim K/Prof K

 

Movie Pressbook: Chamber of Horrors (1966)

Here's a terrific pressbook for Chamber of Horrors, filled with lurid illustrations and nifty theater giveaways like horror rings and a herald. Also noteworthy are the gimmicks to get butts in seats like the Fear Flasher and the Horror Horn. (I had to break the centerfold spread into three scans due to its size, and the pages are not in exact sequence.) The pressbook size is 11 inches by 17 inches.

chamber of horrors pressbook

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chamber of horrors pressbook
chamber of horrors pressbook

chamber of horrors pressbook
chamber of horrors pressbook
chamber of horrors pressbook
chamber of horrors pressbook
chamber of horrors pressbook
chamber of horrors pressbook
chamber of horrors pressbook

chamber of horrors pressbook

Movie Review: The Amazing Spiderman (2012)
Good, But Very Different

the amazing spiderman movie 2012

Peter Parker (Andrew Garfield) is different, his alter ego Spider-Man is different, and the playbook Marc Webb's The Amazing Spider-Man movie uses–a franchise reboot that wasn't, artistically speaking, necessary–seem's more suited to the morose Batman than the spunkier red, white, and blue teenage nerd who gets bitten by a unique spider.

This time around the spider has been genetically engineered by his scientist father, who leaves young Peter with Aunt May (Sally Field) and Uncle Ben (Martin Sheen) whenOscorp Industries gets rough concerning his father's research into cross-species regeneration and decay rate algorithms.

Peter's parents die shortly after leaving him. Years later he's a bright science student but bullied at school, in love from afar with Gwen Stacy (Emma Stone), and soon to meet Dr. Connors (Rhys Ifans), his father's friend and co-researcher. Dr. Connors wants to grow his missing arm back and needs a workable decay rate algorithm. Peter supplies it after finding his father's briefcase containing the needed research information. Mayhem ensues.

The mayhem takes a while to simmer to boiling point, and it isn't Sam Raimi's mayhem, and that old Spidey Sense isn't as finely tuned yet for Peter. He gets beat up a lot and looks like it. I don't recall Tobey Maguire looking this bruised and sore after taking on Doc Ock or the Green Goblin.  Peter also needs more help in this movie, which is supplied by a brave Gwen Stacy, her father the police captain (Denis Leary) and a resourceful construction worker (C. Thomas Howell) who realizes even super heroes need our help sometimes. 

The funniest scene happens with Stan Lee and it gets my vote for the best Stan Lee cameo appearance in a Marvel film. And the best scene doesn't take place with Spider-Man battling the gigantic Lizard; it happens hanging off the traffic-jammed Williamsburgh Bridge, when Spider-Man must save a frightened kid and time's slipping away fast. These scenes sparkle inside a cleanly executed storyline that doesn't share enough of its substance with us: Aunt May and Uncle Ben are here, but they're perfunctory; Peter Parker experiences a life-changer, but he takes it in stride; Dr. Connors nearly get's his wish to send New Yorkers back to the Mesozoic Era, but he's stopped surprisingly quickly just so we can spend more minutes with Peter and Gwen, leaving me hoping Dr. Connor's would pop his lizard tail back in to shake things up one more time. Sadly, he didn't.

If you're keeping a scorecard, I rate this movie "good" and a little better–but just a little–than Raimi's Spider-Man 3. That movie also had too many scripters to tell the story. Garfield is taller and slimmer than Maguire, and he's got a fuller head of hair, but Maguire still shows more nuance even when standing still. Also in this movie, Peter Parker has finally acquired a cell phone, although he needs to use the vibrate button more. He also watches YouTube, which leads to a surprisingly relevant confrontation between him and Captain Stacy over what appears to be the truth in a video concerning Spider-Man. As for The Daily Bugle, it gets brief mention through a newspaper bundle showing a front page, but Peter's photo-taking is not uppermost here.

The 3D renders the movie quite dark for viewing while giving negligible depth to the action. I recommend seeing the 2D version instead.