From Zombos Closet

JM Cozzoli

A horror genre fan with a blog. Scary.

The Witching Hour (1934) Pressbook

A clairvoyant gambler hypnotizes someone who later murders somebody else. Cue the crime and mystery drama. Early pressbooks were often printed on newsprint paper, so they don’t hold up too well and brown with age. But that gives them a certain charm, don’t you think? What’s also charming are the promotional ideas for The Witching Hour. For instance, take this one: “In every town there are large clocks displayed, on the sidewalk or in windows, which are daily consulted by large numbers of persons for the correct time. For example, there is usually such a clock in a telegraph office or jeweler’s window…” Then there’s the ambulating street clock that chimes as it goes. Ah, the good old days–of promotion, that is.

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Witness to Murder (1954) Pressbook

I’ve not seen this movie on TCM yet, but the pressbook is stylish and, with the use of the black and yellow on the cover, striking. Along with the illustration it hints at criminal activity, romance, and danger. I’m not sure how Hollywood Bread ties into the movie promotion, but of course there are cigarettes, rain coat, and wrist watches, too. And fine dishware and furniture. All for a crime noir. With Gary Merrill, Barbara Stanwyck, and George Sanders, you can’t go wrong.

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Castle of Frankenstein Issue 22, 1974

With issue twenty-two of Castle of Frankenstein, you will find The Mutations, Vincent Price’s Madhouse, Peter Cushing’s Frankenstein, and a positive take on Zardoz (yes, THAT odd movie with Sean Connery). An unusually revealing photo of Ingrid Pitt and the devil to pay in The Exorcist keep this issue naughty and nice. For those looking for the weird (yes, well, like all horror fans do, actually), there’s The Curse that Hangs Over the Exorcist interview with William Friedkin. Be afraid. Be very afraid. Oh, and the Legend of Hell House rounds out the scares this issue.

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The Fighting Redhead (1949) Pressbook

Red Ryder, appearing in the comic strip running from 1938 to 1965, was a merchandising juggernaut. This pressbook for Eagle-Lion Film’s The Fighting Redhead makes sure exhibitors knew that. On another note, here’s an interesting article on Red Ryder’s movie saddle.

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“99 River Street” (1953) Pressbook

The New York Times may have not liked “99 River Street” when it first hit the screens, but John Payne goes against type to deliver a taxi driver caught up to his fare box in murder, two-timing marriage, and pugilistic longings. Thanks to TCM for bringing this little indie gem back into the light. Like William Powell, Payne makes a good heavy when the going gets tough. You can’t sing all the time; and, after Miracle on 34th Street, it’s nice seeing Payne not being so nice for a change.

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Modern Monsters Issue 4, 1966
Part 1

A very good monster magazine for the 1960s, Modern Monsters was more adult with its coverage of horror. In this issue 4, Glenn Strange provides interesting behind-the-scenes tidbits from his horror jaunts, Miniatures-Kill or Cure? is pondered by Bob Villard, and Victor Morrison shows us The Invisible Man and His Friends, or something like that. There’s a full color centerfold to pin up, and King Kong and Spy Smasher are examined. At over 80 pages, with pictures galore, and layout that’s plain but easy-reading, it’s a shame Modern Monsters didn’t continue past four issues. (Go to part 2)

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The Invisible Boy (1957) Pressbook

After Forbidden Planet, MGM needed another film to make use of Robby the Robot to help balance their books. That’s where The Invisible Boy comes into the picture. It’s an odd mix of science fiction and kid-fare, so the script is very 1950s. But delve a little deeper and you’ll find one of the screens more interesting and foreboding narratives about artificial intelligence and menacing technology. Robby is actually from the future (a nod to Forbidden Planet), but it takes Timmie, the lonely and misunderstood boy whose parents are eggheads times ten, to reassemble the robot after the supercomputer gives him the smarts. Unbeknownst to the boy, his newfound robotic playmate is under the control of the supercomputer, and that bit of technology has sinister plans for mankind. The Invisible Boy may be dated by its 1950s manners and mores, but deep down, there’s a prescient message for all us Timmies.

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