It Came From Hollywood

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. …

Door to Door Maniac (1961) PressbookRead More »

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. …

Horror of the Blood Monsters (1970)
PressbookRead More »

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.)

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!”

…

Shock! The Monsters are Coming.Read More »

The Ghost and Mr. Chicken is my favorite Don Knotts movie. Not great, but good enough. In fact, he was always good in any movie. With his rubbery body, superbly sculpted comedic face, and uncanny ability to be kinetic even when not moving, he was and still is always fun to watch. In How to Frame a Figg (pressbook courtesy of It Came From Hollywood), the last of his 6 picture deal with Universal, as Hollis Figg, he plays the patsy, then stumbles into his own salvation, eventually. Yvonne Craig lends a welcomed zest; she was always so perky and self-assured, especially in Batman. Speaking of which, I can’t believe Knotts never played a villain in the Batman series. He was such a natural for a role like that. The best comedians always could also do dramatic turns with depth too. I could see him as a Two Face kind of villain for sure.

…

How to Frame a Figg (1971) PressbookRead More »

Here’s another bit of movie history brought to you by It Came From Hollywood…hmm…they seem to have a big closet too.

Here’s one from Hammer Films you probably don’t know about (assuming you’re a longtime horror fan, that is). Along with Associated British Picture Corp, The Crimson Blade (aka The Scarlet Blade), mixed it up with spotty history and bad boy Oliver Reed, got nominated for a BAFTA for best cinematography, and didn’t impress the critics who were looking for more action.

…

The Crimson Blade (1963) PressbookRead More »

From Paul at It Came From Hollywood: “Beyond bizarre offering from Albert Zugsmith. His name may trip a memory or two as he produced The Incredible Shrinking Man (1957), Orson Welle’s Touch of Evil, and High School Confidential, both in 1958 and Confessions of an Opium Eater (1962). Zugsmith’s filmography is studied today in College film courses because he invented, improved upon, and re-created an entire genre of film that defies explanation and, often, logic.

“Films like Sex Kittens Go to College (1960), Platinum High School, also 1960, and Russ Meyer’s Fanny Hill (1964) defined what Albert Zugsmith was about. On Her Bed of Roses reflects none of those films; instead, it dives into Charles Whitman territory with sprinkles of rose fetishism kink. Something I believe Zugsmith held dear to his heart, witness Two Roses and a Golden Rod (1969.) It is a piece of Hollywood history. On Her Bed of Roses is not for the meek (or weak) of heart. Still, everyone can appreciate the pressbook and its over-the-top ballyhoo of a film that is, in itself, over-the-top!” …

Psychedelic Sexualis (1966) PressbookRead More »

Paul McVay over at It Came From Hollywood dug deep to find these radio spots. Here’s what Paul had to say about them.

“Filmways had barely completed their purchase of American International before rushing out massive movie marathon packages to any exhibitor who would take them, and to their credit, it was a pretty smart idea. Attempting to recoup as much money as they could on their investment before they themselves went bankrupt.

“Filmways put together four black-film-oriented movie packages that appealed to every kind of theater and every time of day. Represented here are two of the four packages, Black Classic Unit 2 & Black Classic Unit 4. They include the “All-Day Motion Picture Marathon,” the All-Night Motion Picture Marathon, and the ultra groovy Dusk-To-Dawn Drive-In Movie Marathon. The movies included in the Black Classic Unit 2 package were Truck Turner (1974), Cooley High (1973), Bucktown (1975), and, for some reason, Kung Fu Killers (1974). Each cut is tailored to that specific movie-going experience, be it all night at the Drive-in, all night at your local hardtop or if you weren’t encumbered by a job, all day long in your favorite local theater.

Black Classic Unit 4 included Friday Foster (1975), Slaughter (1972), Cornbread, Earl, and Me (1975), and Black Mamma, White Mamma (1973.) There are three 60-second cuts for each package for a total of six 60-second spots. All are highly polished with film audio drop-ins, sound effects, and some wonderful funky backing tracks. All six spots are different from each other. This was, perhaps, the last time radio advertising for film was this satisfying.”

Black Classic 2-All Day Motion Picture Marathon

Black Classic 2-All Nght Motion Picture Marathon

Black Classic 2-Dusk to Dawn DI Movie Marathon

Black Classic 4-All Day Motion Picture Marathon

Black Classic 4-All Night Motion Picture Marathon

Black Classic 4-Dusk to Dawn DI Motion Picture Marathon

This bare bones pressbook from Commonwealth United Entertainment for Dayton’s Devils, focuses on images of the actors with some minor article-publicity. The poster art also hypes Lainie Kazan (a Brooklyn girl) singing the song Sunny. She also starred in the movie (though I remember her mostly from Columbo). It Came From Hollywood, always one for AIP-related movies, sent this one along because AIP acquired domestic film rights to it in 1971 when Commonwealth’s 80 or so million in debt forced it to shutter. Before that, though, it was a heavy-hitter, with notable films like Venus in Furs, The Ballad of Tam Lin, and The Magic Christian. You also have some great actors in this ensemble heist movie, though I’m not sure robbing an Air Force base of its payroll is a good payday at all. The year is 1968, however, so a little does go a long way, unlike today. Of course, the movie follows the usual seven men, one woman format, and the elaborate plotting of the heist, and the–oops!–didn’t plan for that, did we? moments.

…

Dayton’s Devils (1968) PressbookRead More »

These wild, and somewhat timely, radio spots, courtesy of It Came From Hollywood, may be prescient of things to come. This AIP cult favorite, from the story The Day It All Happened, Baby! by Robert Thom, Wild in the Streets may seem preposterous on first viewing, but if you think today’s political landscape isn’t, then you’ve not been paying attention. The movie is a wild riff on the events of the day (in 1968, natch), and how youth’s eternal struggle with the old farts can get down and dirty. The movie may be over the top, but it brings up issues we still grapple with today, sub-texted into its cheeky condemnation of style over substance.