An invisible boxer seeks exoneration and revenge

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A&C Meet the Invisible Man was the third film in their popular A&C Meet… series, which eventually came to seven such mashups. It was originally intended as a straight horror film in the Invisible Man series, but the huge success of A&C Meet Frankenstein (1948) convinced Universal to rewrite the script as a comedy-horror film.

It was filmed from 3 October–6 November 1950, and released 19 March 1951. The special effects were the work of Stanley Horsley (son of English film pioneer David Horsley), who also did the special effects for The Invisible Man Returns, The Invisible Woman, and Invisible Agent.

A&C actually first met the Invisible Man (voiced by Vincent Price) in the fun twist at the end of A&C Meet Frankenstein, but the one they meet and help in this film is entirely different.

Bud Alexander and Lou Francis are graduating from detective school, and very excited to start their new career. Soon after they go into business, a man (Arthur Franz) enters their detective agency, draws all the blinds, and asks if they’re interested in a case. Before he can give details, the radio reports an escaped murderer named Tommy Nelson, who exactly matches his description.

Lou is typically the first to realise their client is one and the same, while Bud takes a bit more convincing. However, as soon as Bud figures it out, he’s chomping at the bit to get the promised $5,000 reward.

Meanwhile, Tommy phones his fiancée Helen Gray (Nancy Guild) and arranges to visit her and her uncle, Dr. Philip Gray (Gavin Muir). Once he arrives in the lab, Tommy begs for the invisibility potion he’s working with. Dr. Gray steadfastly refuses, pointing out the long-known side effect of eventual madness. He tells Tommy about the sad case of the potion’s inventor, Jack Griffin, and points to his photo on the wall (Claude Rains, who played the original Invisible Man).

The cops pull up outside, and Dr. Gray and Helen stall them for time as Tommy hides. Against the dire warnings, Tommy injects himself.

Soon afterwards, Lou comes upon the scene, forced to be in a room alone with Tommy while Bud talks with the cops and demands the reward. Lou’s terror at being so close to a believed murderer increases when he shakes hands with Tommy and sees Tommy’s hand disappearing. Bit by bit, his entire body disappears, and all that’s left is a pile of clothes.

No one believes Lou’s story, and he’s sent to a shrink, Dr. James Turner (Paul Maxey). The therapy session fails miserably, as Lou instead hypnotizes not only Dr. Turner, but also several cops and anyone else who ventures into the room. Bud is outraged at Lou’s incompetence, particularly since it cost them a big reward.

Bud cheers up a bit when Helen comes to see them and begs them to prove Tommy’s innocence. She gives them $500 and a suitcase to deliver to Tommy in Riverside Park at night. Before she leaves, she asks them to tell Tommy her uncle’s working on the re-agent.

Of course, Lou is the one forced to go to the park alone at night while Bud waits by the car, dreaming of collecting the reward after all. Tommy emerges with his head wrapped in bandages, wearing the clothes from the suitcase. When the cops arrive, Tommy has once again disappeared.

Bud finally believes Lou’s story about invisibility when Tommy makes himself known and expresses outrage at Bud’s attempted double-crossing. While they’re driving away, Tommy explains what happened and why he’s innocent.

Their next stop is the gym, where Tommy elucidates a few more details. He then begins working a punching bag at incredible speed, making it look like Lou is doing it. The trainers are so impressed, they take Lou on as a boxer.

Many hilarious hijinks ensue, all while Tommy remains fixed on his goal—proving his innocence and getting revenge on the promoter who murdered his trainer. But the longer he’s invisible, the stronger the serum’s effects become, and the greater the chance of something going wrong during the big showdown in the ring.

Mickey’s Halloween costume

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Welcome back to Weekend Writing Warriors and Snippet Sunday, weekly Sunday hops where writers share 8–10 sentences from a book or WIP. The rules have now been relaxed to allow a few more sentences if merited, so long as they’re clearly indicated, to avoid the creative punctuation many of us have used to stay within the limit.

This year’s Halloween-themed excerpts come from the eighth book in my Saga of the Sewards series (formerly known as Max’s House). It needs a great deal of editing, rewriting, and revision, along with a new title, so I’m doing preliminary edits and fleshing it out as I go this month.

We’re now at the school’s Halloween dance and party, which Elaine and her friend Quintina were in charge of putting together. Elaine’s cousin Max carved all the jack-o-lanterns, and finished shortly before the first attendees arrived.

Elaine stared at Mickey as she entered the gym. It seemed a foregone conclusion she’d win most original costume, with a leotard splattered with twenty different colors, hands encased in rubber snake heads, alligator feet, yellowed teeth, a sash of cellophane flowers, hair dyed ten different colors, skin dyed more different colors than Elaine could keep track of, and kaleidoscope glitter glued around her eyes.

Mickey waved as she approached. “I’m a peyote hallucination. Don’t ask how many hours it took to make this.”

“What’s peyote?” Elaine asked.

“It’s a type of mescaline, a natural drug the Indians use for spiritual experiences. Peyote produces visions that look like me.”

“Where’d you get the purple lipstick from?” Kit asked. “I’d love to wear something besides red and pink for a change.”

The ten lines end here. A few more follow to finish the scene.

“This is dye, not lipstick.” Mickey lit a Lucky Strike. “Though I have seen a few lipsticks that are so dark they look almost purple. I wish makeup producers would be more creative with colors. Sometimes you just want to have fun.”

“You and me both. If I ever found lipstick in purple, green, and blue, I’d want to wear it every day, not just for Halloween and costume parties. Makeup is supposed to reflect our personalities and interests instead of being a boring one size fits all uniform.”

An island mansion full of secrets and zombies

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Released 14 May 1941, King of the Zombies was intended as a vehicle for Béla Lugosi (a role for which he would’ve been perfect). Unfortunately, he was unavailable at the time, and Monogram tried to negotiate for Peter Lorre (who also would’ve been great). Finally, Henry Victor was signed shortly before filming commenced. Because of Mr. Victor’s heavy German accent, he was unable to be a leading man, and instead established himself as a character actor.

James McCarthy (Mac) (Dick Purcell), his buddy Bill Summers (John Archer), and his very funny valet Jefferson Jackson (Jeff) (Mantan Moreland) are flying from Cuba to Puerto Rico when their plane blows off-course and crashes in a storm. The trio end up on a strange island, right in the middle of a cemetery.

With nowhere else to go, they enter the first house which presents itself and meet the acquaintance of owner Dr. Miklos Sangre (Henry Victor). Though they heard a faint radio signal while still in the air, Dr. Sangre denies any radio stations on the island. He instead claims they must’ve heard something from one of the many ships passing through, and says the next ship won’t arrive for about two more weeks.

Despite Jeff’s fears and suspicions, particularly regarding creepy butler Momba (Leigh Whipper), Bill and Mac accept the offer to stay as longterm guests. Jeff meanwhile is banished to the servants’ quarters in the cellar, which connects to the kitchen. He’s delighted to make the acquaintance of pretty maid Samantha (Marguerite Whitten), but newly frightened by the ancient cook Tahama (Madame Sul-Te-Wan).

Other residents of the mansion are Dr. Sangre’s wife Alyce (Patricia Stacey) and niece Barbara Winslow (Joan Woodbury). Jeff, who’s already wise to the existence of the household’s zombies and refuses to believe Dr. Sangre’s rebuttals of their true nature, is even more alarmed by Mrs. Sangre. As Dr. Sangre explains, “She lives, yet walks in the land of those beyond.”

Everyone then gets settled for the night, but Jeff still can’t relax. When a few zombies try to attack him, he flees upstairs and tells his friends what happened. The commotion gets Dr. Sangre’s attention, and he once more insists there are no zombies and that Jeff is just imagining things. However, he does finally permit Jeff to stay in the same room as Mac and Bill.

Jeff freaks out again when he sees Mrs. Sangre coming through a wall. Mac and Bill are finally convinced he’s on the level when Jeff finds an earring she dropped on the bed, and they go to investigate. During the course of the investigation, Mac finds Barbara in the library, researching how to break her aunt’s hypnotic state.

This time, no one believes Dr. Sangre when he finds them and tries to set their minds at ease. They’re determined to get off this island as soon as possible.

These plans, however, are thrown into jeopardy when the zombies come calling again. Will they be able to escape without joining the ranks of the undead?

A sleepwalking strangler

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Released 25 April 1941, Invisible Ghost was the first of Béla Lugosi’s nine films with Poverty Row studio Monogram Pictures. Despite Monogram’s lack of financial resources, however, they produced a lot of solid films, managed to lure a lot of stars (both current and former) from other studios, and launched a number of new stars. They also won an Academy for Best Short Subject (Two Reeler) in 1947, and were nominated for a number of other Academy Awards.

Lugosi went to work for them when his career was in the doldrums, a consequence of the restrictive Hays Code coupled with a British ban on horror films.

Charles Kessler (Lugosi) seems for all intents and purposes a very nice, respectable man, except for one big flaw—he went half-mad after his wife left him for his best friend a few years ago. She and her lover are believed to have died in a terrible car accident, and now every year on the Kesslers’ wedding anniversary, Mr. Kessler pretends she’s alive. The butler Evans (Clarence Muse) sets the table for two, and Mr. Kessler talks to this invisible presence.

Mr. Kessler’s daughter Virginia (Polly Ann Young, older sister of Loretta Young) is aghast when her serious beau Ralph Dickson (John McGuire) visits on this very evening and witnesses the bizarre spectacle. In embarrassment, she draws him aside and explains what’s going on.

Ralph was also secretly seeing the Kesslers’ maid Cecile Mannix (Terry Walker), but broke it off with her because he fell in love with Virginia. Now Cecile won’t accept the fact that it’s over and that Ralph’s heart is no longer hers. After they quarrel that night, Ralph drives off and Cecile retreats to her room.

We then learn Mrs. Kessler (Betty Compson) is alive, albeit not very well, and living in the cellar, where the gardener (not her lover) takes care of her. She’s terrified to come home, believing her husband will kill her, and anybody else as well. However, she regularly prowls through the grounds at night to appear below Mr. Kessler’s window.

And when he sees her, he goes into a trance and indeed kills someone.

That night, Mr. Kessler strangles Cecile with his overcoat (to avoid fingerprints). Evans discovers her corpse in the morning, and Ralph is accused of the crime. Though he heartily pleads his innocence, it seems an open and shut case of guilt due to the lovers’ quarrel Evans overheard. Ralph gets the death penalty.

Shortly afterwards, a dead ringer for Ralph visits and becomes a longterm houseguest—his twin brother Paul (also John McGuire). Paul is determined to get to the bottom of what really happened. While he believes Ralph was innocent on account of their being brothers, he also is highly suspicious of how several other servants in the household were murdered before that.

The next victim is the gardener, who’s also found by Evans. This time, Evans is accused of the crime, despite having no motive or suspicious behaviour. Mr. Kessler and Virginia also fully stand behind his innocence and good moral character.

Paul is also still determined to get to the bottom of all these mysterious murders, and some unexpected twists and turns may just expose what’s really been going on.

Invisible Ghost was very positively reviewed by The Los Angeles Times, which called it “head and shoulders above the average horror picture” and praised it for evoking a creepy mood more through psychological and psychopathic situations instead of directly showing the horror. They also loved Lugosi’s acting.

Another wonderful aspect of this film is the character of Evans. Clarence Muse always imbued his characters with such fully-realised humanity, dignity, and intelligence, whether they were servants or leading roles. Evans is a very important secondary character, and is never once cast as a stereotype or used for cheap laughs. This was quite refreshingly unusual for the era.

When the wolfsbane blooms and the autumn moon is bright

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Released 12 December 1941, The Wolf Man introduced moviegoers to a brand-new monster from Universal. For years, many of the studio’s horror films had been sequels and spin-offs with Frankenstein’s Monster, Dracula, the Mummy, and the Invisible Man. Now, with the addition of the Wolf Man, the Universal horror franchise got a breath of fresh air.

Werewolf films were nothing new, but The Wolf Man was the very first film to fully realize such a story and richly develop the tortured character. The film widely considered the first werewolf film, the 1913 short The Werewolf, was sadly lost in a 1924 fire at Universal Studios.

The earliest surviving werewolf film, 1925’s Wolf Blood, takes forever to broach the idea of a man transmogrifying into a wolf, and shows no transformation at all. The filmmaking is also said to be awful even in the context of that era. And in the first proper werewolf film, Werewolf of London (1935), the character doesn’t evoke much sympathy or human warmth.

All that changed with The Wolf Man.

Larry Talbot (Lon Chaney, Jr.) returns to the family castle in Wales after 18 years in California. As much as he enjoyed his life in the U.S., duty obliges him to assume the position of heir after his older brother John’s death in a hunting accident. Larry also needs to rebuild his relationship with his estranged father, Sir John Talbot (Claude Rains).

One of Larry’s interests is astronomy, and he wastes no time in testing out a new telescopic lens in the big telescope in the top-floor observatory. While looking around at the surrounding buildings and streets, he gets an eyeful of pretty Gwen Conliffe (Evelyn Ankers) in her bedroom directly across the way.

Larry likes what he sees very much, and sets out to visit the Conliffes’ antique store (which is run out of their house, like many businesses used to be). He first asks to see some earrings, but rejects all the beautiful jewelry Evelyn shows him. Though Larry is always depicted as a genuinely nice guy, it’s pretty creepy how he asks to see the pair of earrings he saw Gwen putting on in her room while he was spying on her (fully-clothed).

Larry settles for buying a cane, though he initially balks at the price of £3 ($15). Gwen showed him a number of nice canes, but Larry was only interested in one with a large silver handle in the shape of a werewolf’s head, with a pentagram on the side. (Side note: The so-called pentagrams which occur throughout this film are just ordinary five-point stars without any lines forming an upside-down pentagon in the middle.)

Larry then tries to make a date with Gwen for eight that night, and she repeatedly refuses. He leaves in good spirits, assured no really means yes and that she’ll be there waiting.

Gwen does happen to be standing outside when Larry returns, but this is to be no true date. There’s a third wheel, Gwen’s friend Jenny (Fay Helm), who goes along with them to get her fortune told by some Gypsies passing through.

Jenny goes into the tent first, but this fortunetelling session doesn’t last long. A pentagram appears on her hand, which makes Bela (Béla Lugosi) freak out and order her to leave. Shortly afterwards, Jenny is attacked by a wolf, and Larry kills it with his new cane. Before the wolf dies, it bites Larry.

The wounded Larry is carried home with help from Bela’s mother Maleva (Maria Ouspenskaya), who mysteriously vanishes as soon as he’s safe with his father. 

The morning after, Larry discovers in astonishment that the bite wound on his chest is fully healed. Not a trace of it is left. Though everyone saw the blood and how injured he was, Larry’s story now falls into question. Particularly when it comes out that Bela was killed, with no wolf’s body in sight. Larry’s father and other people believe he may have been confused and overexcited in the dark and fog.

Larry goes back to the Gypsy camp to try to get answers, and Maleva tells him Bela was a werewolf. She also says Larry is now a werewolf, and gives him a pentagram necklace to wear over his heart for protection.

Larry has already heard a bunch of werewolf lore from other locals, including Gwen, and tries his best to brush it off as nonsense and fairytales.

But then Larry starts changing into a werewolf and sneaking out of the house to prowl through the night, leaving a lot of mayhem in his wake and causing him to doubt everything he thinks he knows about science and reality.

Can Larry’s lycanthropism be cured before he goes on another deadly rampage, or will he forever be cursed with this strange sickness?