It Came From Hollywood

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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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.

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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.

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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.

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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.

I’ll be blunt. I never liked John Carradine as Dracula. His stagey opera cape and top hat, wild-eyed approach left me thinking more Snidely Whiplash than Count Dracula, royalty to the undead. I will admit to loving one scene, though: in House of Frankenstein, when he hypnotizes Anne Gwynne with his ring, well, that scene is awesome. He plays it perfectly and generates such a sinister persona, I just wish he had carried that throughout his stint as Dracula.

But what an actor for other roles, especially as the bright spot in the bad movies he appeared in. A New York boy, he made his first appearance on stage in Camille, a New Orleans production. He was a painter and got his start working for Cecil B. DeMille, doing scenic art in Hollywood. That led to acting roles in DeMille’s films, branching out to directors like John Ford and Victor Fleming. In the 1940s he moved over to horror films (The Horror People, John Brosnan, St. Martin’s Press).

Billy the Kid vs Dracula was a terrific idea. Horror Westerns are few and far between, but can provide a large landscape for terror. Unfortunately, not much of that landscape is used creatively in this one. If you want to see a really good vintage vampire western, catch Curse of the Undead. Still, with John Carradine involved, I can always watch him in action, even as Dracula.

It Came From Hollywood sent along these cool-looking lobby cards (though the coloration seems more suited for Ib Melchior’s The Angry Red Planet).

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Billy the Kid vs Dracula Lobby CardsRead More »

This double bill pressbook, well, It Came From Hollywood. The Horror of Party Beach kicks some sand into the faces of those wacky beach party movies, having some fun while doing so. In The Curse of the Living Corpse, rich grandpa (okay, I’m taking a bit of license here) comes back from the dead to kill off his relatives who apparently didn’t read the fine print in his will.

Both movies were double billed for balcony-minded teens (or the drive-in types too). In the early days of movies, when the studio system was still viable, you had your A movie usually paired with a B movie, a cartoon, a live stage show, and a newsreel, along with trailers. So double billing wasn’t new. American International Pictures (AIP) took the practice and revived it, and changed it. They made both movies on the double bill equal. They came as a complete package. There was no A or B movie, just two movies advertised equally. That came about more as a defense against television, which was stealing away the audience and locking them up at home. But the pricing scheme and distribution idea worked very well, for both the theaters and AIP.

By 1967 the American theater newsreel was dead since television had the handle on more timely news, and kid shows on the boob tube (I vaguely recall watching Howdy Doody) forced theater cartoons off the screen by the early 1980s. I recall my dad taking me to see a single feature movie (don’t remember which one) and a cartoon popped up, which was a nice surprise. At the end of the cartoon he turned to me and said “I don’t get it. What’s the moral message.” I looked at him. Growing up, for me, and every other kid on the block, moral messages were not a primary goal for watching cartoons. I shrugged my shoulders and we watched the main feature. Sadly, I grew up too. It happens.

Due to the pressbook page sizing, two pages were scanned twice to show tops and bottoms. So no, you’re not seeing double.

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The Horror of Party Beach
and The Curse of the Living Corpse
Double Bill PressbookRead More »

The Ad Pad supplement usually came with the movie’s pressbook. It contained the print adverts for the movie that could be used in newspapers. Newspaper advertising was king before the internet took over movie promotion. Each ad pad contained a range of sizes and alternative poster art and wording to promote the movie. The theater manager would place an order for the flong that matched the advert they wanted to use. Once they had it in hand, it went to the newspaper to print the advert from it.

What makes this ad pad special is the Final Billing Requirements on page 9. The table gives a rare insight into the legal aspects of displaying cast and production credits after contracts are signed. It Came From Hollywood is not only an AIP fan, but they love Disney too and were kind enough to supply these images.

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The Love Bug Ad PadRead More »