Also known as: The Colgate Comedy Hour Release Date: 1954 (originally aired) Cast: Bud Abbott, Lou Costello
Colgate-Palmolive-Peet, NBC, 59 Minutes
I bought this pretty sure that it had never actually been a movie. I was right. But considering that I love the Gillman more than any monster to come out of the Universal Monsters franchise, I had to buy it.
Plus, I also love Bud Abbott and Lou Costello and every time they cross paths with horror icons, it makes for really good results.
This is actually an episode of the comedy/variety show The Colgate Comedy Hour, which was a very early variety show in the earliest days of television.
You have to sit through about forty minutes of comedy skits, interviews, ice skating and dancing routines but you do eventually get to the section that stars Abbott and Costello.
Their segment is less than fifteen minutes and while it is rather funny, it only features the Gillman for maybe five seconds. The segment actually features more of Frankenstein’s Monster than it does the “creature” from the Black Lagoon. While that’s underwhelming and disappointing, the skit is still funny.
I wouldn’t call this a waste of money, by any means, as it was like five bucks. However, it’s packaging and title are pretty misleading and I can see where most people will end up with a product that pisses them off. For me, it’s just some weird novelty that’s been added to my classic horror collection.
Rating: 6/10 Pairs well with: the Abbot and Costello monster movies.
Release Date: June 23rd, 1955 Directed by: Charles Lamont Written by: John Grant, Lee Loeb Music by: Joseph Gershenson (supervisor) Cast: Bud Abbott, Lou Costello, Marie Windsor, Michael Ansara, Peggy King, Richard Deacon, Mel Welles
Universal International Pictures, 79 Minutes
“There is no curse that a gun or a knife can’t cure.” – Madame Rontru
This installment in the Abbott & Costello/Universal Monsters mashups is one of the best.
While I still like their Frankenstein movie the most, this one is really close to it.
Being that this one lacks the star power and all the famous monsters of the Frankenstein picture, actually makes it a bit more impressive, as it was able to almost live up to that one with far less at the comedians and writers’ disposal.
In fact, I like this movie so much, it is my favorite Universal Mummy movie ever made after the original 1932 Boris Karloff one. The main reason is that this just hits the right notes in regards to the Mummy franchise while also being loaded with great gags and clever comedy writing.
Abbott and Costello are always hilarious and perfect as a pair but they really upped the ante in this one. I also liked seeing multiple mummies on the screen, even if all the dudes wrapped in bandages at the end, weren’t actual mummies.
This did a great job with the sets and making the world feel authentic and real. Well, as much as it could with the limitations of the time.
I also really enjoyed the addition of Mary Windsor, here, and it’s one of my favorite roles she’s played as she got to ham it up with the comedy legends and was convincing in her villainous role, which probably comes from spending so much time acting in classic film-noir pictures before this one.
Ultimately, this is a fun movie that lives up to both of the brands it brought together. Frankly, it’s probably the best way that Abbott and Costello could’ve ended their series of Universal Monster films.
Rating: 7.5/10 Pairs well with: the other Abbot and Costello monster movies.
Also known as: Dr. Jekyll and Mrs. Hyde (working title) Release Date: August 1st, 1953 Directed by: Charles Lamont Written by: Lee Loeb, John Grant, Sid Fields, Grant Garett Based on:The Strange Case of Dr. Jekyll and Mr. Hyde by Robert Louis Stevenson Music by: Joseph Gershenson Cast: Bud Abbott, Lou Costello, Boris Karloff
Universal International Pictures, 76 Minutes
“How do you like that Dr. Jekyll! He turned me into a mouse… the rat!” – Tubby
This entry into the Abbott & Costello and Universal Monsters crossovers was definitely a step up from the Invisible Man film but I still wouldn’t put it as high as the Frankenstein one.
The great thing about this picture was seeing Boris Karloff in it as the monster. He really got to ham it up and I’m a fan of him in horror comedies, as he was great in both The Raven and The Comedy of Terrors.
There are a lot of really good gags in this movie, my favorite one being the bit where Lou Costello is turned into a humanoid rat and shocks everyone in a tavern.
Honestly, this picture was pretty clever between just the verbal jokes and the physical gags. Karloff added a hell of a lot to the proceedings and I wish he had been involved in all of these horror-themed Abbott & Costello flicks.
All in all, this was fun and amusing. It was a great mix of talent, a good yet fresh adaptation of a famous and quite overused horror classic, and it certainly made up for the fairly lackluster film before it.
Rating: 7/10 Pairs well with: the other Abbot and Costello monster movies.
Also known as: Meet the Invisible Man (working title) Release Date: March 7th, 1951 Directed by: Charles Lamont Written by: Robert Lees, Frederic I. Rinaldo, John Grant, Hugh Wedlock Jr., Howard Snyder Based on:The Invisible Man by H.G. Wells Music by: Erich Zeisl Cast: Bud Abbott, Lou Costello, Nancy Guild, Arthur Franz
Universal International Pictures, 82 Minutes
“The evidence says I did. When I stepped out of the shower that night, I found O’Hara beaten to death on the locker room floor. The cop outside the door swore nobody else had come in, so they pinned it on me.” – Tommy Nelson
I love the Abbott & Costello mashups with the Universal Monsters franchise, however one of the film’s has to be the weakest link and this one is it.
That doesn’t mean that it’s bad, as it’s still really enjoyable. It’s just that this one feels like it’s the least horror-y and it also just creates a new Invisible Man character, as opposed to being tied to any previous version, even after they already had the duo come into brief contact with the Vincent Price version of the character at the end of Abbott and Costello Meet Frankenstein.
Oddly, this is more of a comedy sports movie. Which is actually achieved pretty cleverly in that the comedic duo use the Invisible Man to help give Lou Costello an edge in the boxing ring. It’s an ingenious and hilarious scheme and even if the joke feels one-note, they stretch it out in this movie and the physical comedy is so good that it works longer than it probably should.
Abbott & Costello are both as great as usual and even if the Invisible Man character felt weak when compared to past versions, he still meshed well with the two leads and everything came together fairly well.
Rating: 6.25/10 Pairs well with: the other Abbot and Costello monster movies.
Also known as: The Wax Works (working title) Release Date: April 9th, 1953 (New York City premiere) Directed by: Andre DeToth Written by: Crane Wilbur Based on:The Wax Works by Charles S. Belden Music by: David Buttolph Cast: Vincent Price, Frank Lovejoy, Phyllis Kirk, Carolyn Jones, Paul Picerni, Charles Bronson (as Charles Buchinsky)
Bryan Foy Productions, Warner Bros., 88 Minutes
“I’m afraid that the visit of a such distinguished critic may cause my children to become conceited. To you they are wax, but to me, their creator, they live and breathe.” – Prof. Henry Jarrod
House of Wax is hand down, one of my favorite Vincent Price films ever made. In fact, as much as I love the Edgar Allan Poe adaptations he’s in, this was the movie that really sold me on the guy and opened up the Pandora’s box that sent me down the rabbit hole of classic horror.
While I had already loved the Universal Monsters films and older black and white stuff, House of Wax really introduced me to the generation of films that followed, many of which starred Vincent Price, Peter Cushing or Christopher Lee… and sometimes a combination of two of them or on rare occasions, all three.
At a very young age, this also introduced me to the original version of the 3D gimmick. While I didn’t see this in 3D, it gave me an understanding of it and how these films were shot. Plus, it’s cool seeing it on a normal screen, as in 1953, movies weren’t made to be digested at home on a television set.
This was directed by Andre DeToth, who had previously made some memorable classic film-noir pictures. He had an eye for cinematic composition and he would utilize that to great effect, here, while also applying it to the 3D effects shots.
What sets this apart from DeToth’s beautiful noir movies is the use of color, which is vibrant and vivid, even more so than the colorized pictures of the day. Even when the film takes place in darkness, the world is still alive with dynamic hues.
Additionally, DeToth’s mastery of a high chiaroscuro style comes into play in the great sequence that sees the film’s female lead running through the urban streets and alleyways with the grotesque killer in hot pursuit. While this wasn’t done in black and white, it used dark hues and a lot of contrast with bits of color accenting the composition, helping to boost texture.
Vincent Price is dynamite in this and it is one of his best roles. He was on his A-game and his performance in this film is what led to him having a career as America’s top horror star for decades.
I also loved seeing a young Charles Bronson in this, who would work with DeToth again in a noir movie titled Crime Wave.
As an Addams Family fan, I also like that Carolyn Jones is in this, a decade before her most famous role as Morticia Addams.
One thing that really stood out to me when seeing this, as a kid, was how messed up and dark the story was. It’s about a wax artist who lost everything and was only able to reestablish himself by killing people and using them as the base for his wax figure creations. In fact, the plot of this film inspired two different horror short stories I wrote around middle school age. I’d assume that it also inspired Roger Corman’s classic beatnik horror comedy Bucket of Blood.
Overall, this is not just one of my favorite Vincent Price films, it is one of my favorite films of all-time. It led me down a path that I have enjoyed immensely for thirtyish years and I still tend to feel the need to watch this every October.
Rating: 9.25/10 Pairs well with: other Vincent Price films from the ’50s through the ’70s.
Release Date: January 29th, 1959 (Los Angeles premiere) Directed by: Clyde Geronimi (supervising director), Eric Larson, Wolfgang Reitherman, Les Clark Written by: Erdman Penner, Milt Banta, Winston Hibler, Bill Peet, Joe Rinaldi, Ted Sears, Ralph Wright Based on:Sleeping Beauty by Charles Perrault Music by: George Burns (adapted from Tchaikovsky) Cast: Mary Costa, Bill Shirley, Eleanor Audley, Verna Felton, Barbara Luddy, Barbara Jo Allen, Taylor Holmes, Bill Thompson, Marvin Miller (narrator)
Buena Vista Film Distribution, Walt Disney Productions, 75 Minutes
“A forest of thorns shall be his tomb! Borne through the skies on a fog of doom! Now go with the curse, and serve me well! ‘Round Stefan’s castle, cast my spell!” – Maleficent
This is my favorite classic animated Disney film of all-time. While I also love Alice In Wonderland immensely and have (in my own mind) debated which one takes the cake for me, it’s always Sleeping Beauty that wins out, especially when I see them both pretty close together.
As far as the classic Disney style and patented tropes go, this is a perfect motion picture but then it’s also more than that.
This, at face value, looks like a standard Disney princess story but it also features the greatest villain that Disney has ever had in Maleficent. A villain so badass and cool that she’s been featured in the great Kingdom Hearts video games and gone on to have her own series of live-action films featuring her as the main character over Aurora a.k.a. Sleeping Beauty.
On top of that, this is a visual triumph for the Disney company, as it has a very unique animation style with incredible character design, a delectable, vivid color palate and a sort of looming darkness that their other films don’t have. There’s a real beauty with this picture that holds it above Disney’s other masterfully crafted and visually impressive films.
The animation is also so smooth, especially in regards to the great action sequences. The big action-packed climax that sees Prince Philip take on Maleficent in her massive dragon form is stunning to behold. Sixty-plus years later, it has held up incredibly well and is, hands down, one of the absolute best and most memorable animated action sequences in film history.
For me and what I like in Disney films, as well as fairytale stories, this is just a perfect storm, which is greatly enhanced by the unique and alluring visuals and one of the greatest silver screen villains ever created.
Rating: 10/10 Pairs well with: other classic animated Disney films of the classic era.
Release Date: June 16th, 1955 (Chicago premiere) Directed by: Clyde Geronimi, Wilfred Jackson, Hamilton Luske Written by: Erdman Penner, Joe Rinaldi, Ralph Wright, Don DaGradi Based on:Happy Dan, The Cynical Dog by Ward Greene Music by: Oliver Wallace Cast: Barbara Luddy, Larry Roberts, Bill Thompson, Dallas McKennon, Bill Baucom, Verna Felton, Peggy Lee
Buena Vista Film Distribution, Walt Disney Productions, 76 Minutes
“(repeated line) As my grandpappy, Ol’ Reliable, used to say… I don’t recollect if I ever mentioned Ol’ Reliable before?” – Trusty
As I started reviewing Disney’s classic animated features from the beginning, I wondered where their distribution partnership with RKO Radio Pictures would end. I guess it’s here, as this is the first film distributed by Buena Vista, which was created to be the distribution arm of the Disney company.
While that might not seem as if it is important to the final film, it could possibly be a reason as to why this one feels like a slight step down in quality for what Disney had been putting out, at the time. However, following up Cinderella, Alice In Wonderland and Peter Pan couldn’t have been easy.
Also, that’s not to say that this is bad or unworthy of the Disney brand. Lady and the Tramp is still one of the best animated films of its time and deservedly considered a classic.
In fact, this is one of the classic Disney films that I watched the most, as a kid. I always liked the characters, the story and yes, even the romance. Honestly, this may have been my first experience seeing romance play out in a film. Well, it was at least the first romantic movie I probably paid attention to.
The animation is great and I also like the few songs in the film. However, the movie plays more like a sequence of events without much tying them together. At least, there doesn’t seem to be much of a point to the larger arc of the story and it almost feels like there isn’t one. Things happen, dogs fall in love and eventually, they live together and have babies. All of this, however, just felt like things that happened around random scenes.
I guess it didn’t need to have a clear objective and can be brushed off as just peaking into these two dogs’ lives for a bit but its lack of real structure and narrative progression does effect the quality.
Rating: 7.5/10 Pairs well with: other Disney animated films of the 1950s.
Release Date: August 1st, 1959 (Japan) Directed by: Terence Fisher Written by: Jimmy Sangster Music by: Franz Reizenstein Cast: Peter Cushing, Christopher Lee, Yvonne Furneaux, Michael Ripper
Hammer Films, 97 Minutes (original), 86 Minutes
“He who robs the graves of Egypt dies!” – Mehemet Bey
Since I’ve reviewed the entirety of Hammer’s Dracula and Frankenstein films, I figured that this classic monster reboot series also needed to be revisited.
Coming off of the heels of The Curse of Frankenstein and The Horror of Dracula, Hammer got the same creative team back together and took a shot at resurrecting The Mummy in their own, original way.
It also helped that they brought back both Peter Cushing and Christopher Lee for this one, making it feel like the third part in a trilogy of films where Hammer was showing tribute to the Universal Monsters franchise that kicked off in the 1930s.
I actually love that this is its own thing and it’s not trying to remake 1932’s The Mummy with Boris Karloff. It just takes the concept and gives the audience a fresh, new story. Sure, there are obvious similarities but this picture has a unique visual aesthetic and frankly, it’s one of the best looking Hammer movies of all-time. I also say that as someone that already loves the visual style of the studio’s classic films.
While I would rank this below the first Dracula and Frankenstein films, it’s still pretty damn good and it’s certainly the best of the Hammer Mummy series.
I enjoyed the characters and I especially liked the look of Christopher Lee’s mummy. The makeup was impressive for 1959 and Lee is such a good physical actor that his mummy is one of my favorites of all-time. While I don’t feel that he gets the same level of admiration as Karloff’s version of the monster, I’d say that his is on the same level and possibly a bit better due to his size and how imposing he is. Lee’s mummy just looks and feels stronger than Karloff’s and there is just something more sinister about him.
Ultimately, this is a solid Hammer horror flick. For fans of the studio and classic monsters, it is definitely worth checking out.
Rating: 7.25/10 Pairs well with: the other films in Hammer’s Mummy series, as well as other Hammer films of the time.
Release Date: February 5th, 1953 Directed by: Clyde Geronimi, Wilfred Jackson, Hamilton Luske Written by: Milt Banta, Bill Cottrell, Winston Hibler, Bill Peet, Erdman Penner, Joe Rinaldi, Ted Sears, Ralph Wright Based on:Peter and Wendy by J.M. Barrie Music by: Oliver Wallace Cast: Bobby Driscoll, Kathryn Beaumont, Hans Conried, Paul Collins, Tommy Luske
RKO Radio Pictures, Walt Disney Productions, 77 Minutes
“All this has happened before, and it will all happen again. But this time it happened in London. It happened on a quiet street in Bloomsbury. That corner house over there is the home of the Darling family. And Peter Pan chose this particular house because there were people here who believed in him.” – Narrator
This used to be one of my favorite Disney animated features when I was young. It’s still damn good and I’d consider it one of the best but it doesn’t quite hit me in the same way, now that I’m an adult. Although, I still appreciate it and its message about embracing the youthful parts of your spirit, especially for those of us who are much older than the kids in the story.
Overall, this is a good, fantastical, swashbuckling adventure. It features pirates, Native Americans and a group of kids that are trying to be a force for good in the fantasy land that they inhabit. Most importantly, it’s just a feel good movie that is fun to escape into for 77 minutes.
The thing I really like about it, as a fan of this style of animation, is the overall look and vibe of the movie.
I love the character design, the design of the locations and the animation, itself, is really damn good, propelling the Disney standard to new heights, once again.
At this point, Disney had mastered fluidity in its use of motion. It makes me further appreciate how great the company and its animators were, almost seventy years ago and more than thirty years before the PIXAR computer animated style became the norm. This is also why 2-D animation of this style is still and will always be my favorite.
Peter Pan is just amusing and entertaining from top-to-bottom. It’s stood the test of time, greatly, and it has spawned an eternal interest in the characters and its world that movies based off of it are still made today. While this is based off of the J.M. Barrie book, I truly believe that it is this film that kept Barrie’s creation alive for future generations.
Rating: 8.5/10 Pairs well with: other Disney animated films of the 1950s.
Release Date: July 26th, 1951 (London premiere) Directed by: Clyde Geronimi, Wilfred Jackson, Hamilton Luske Written by: Milt Banta, Del Connell, Bill Cottrell, Joe Grant, Winston Hibler, Dick Huemer, Dick Kelsey, Tom Oreb, Bill Peet, Erdman Penner, Joe Rinaldi, Ted Sears, John Walbridge Based on:Alice’s Adventures In Wonderland and Through the Looking-Glass by Lewis Carroll Music by: Oliver Wallace Cast: Kathryn Beaumont, Ed Wynn, Richard Haydn, Sterling Holloway, Jerry Colonna, Verna Felton, J. Pat O’Malley, Bill Thompson, Joseph Kearns, Dink Trout, James MacDonald
RKO Radio Pictures, Walt Disney Productions, 75 Minutes
“If I had a world of my own, everything would be nonsense. Nothing would be what it is because everything would be what it isn’t. And contrary-wise; what it is it wouldn’t be, and what it wouldn’t be, it would. You see?” – Alice
Growing up, Alice In Wonderland was my favorite animated Disney film after Sleeping Beauty. I’ll get into that other film’s greatness when I review it in the near future.
Getting back to Alice, I always saw it as the most bizarre and fun film in Disney’s massive catalog. Always being an artist, I also loved it’s surrealist approach to storytelling and its unique art style and clever design.
It’s still a solid film and one of the best of its era. I don’t know if I still hold it as high in the Disney oeuvre, as I once did, but it’s still really high up on my list because out of all the Disney animated features, it offers up the best type of escapism. In fact, that’s really what the movie is about, as a young girl escapes into her mind (or does she?) to help pass the time on a fairly mundane day.
I think that escapism is important and it seems lost in the modern world where entertainment is almost always injected with political and social messages to the point where escapism seems impossible, even in the realm of entertainment. Essentially, entertainment has stopped being entertainment but I’m also not here to harp on that, as I’m now doing the same thing that I’m criticizing.
Alice In Wonderland is a beautiful and energetic film that moves at a quick pace and actually does a lot with a short running time.
It’s just amusing from start to finish and full of bonkers characters, crazy situations and it captivates the imagination in a great way. You don’t have to think too hard or really at all. You can just get lost in the absurdity of this vivid and visually pleasing tale. It’s almost impossible to watch this film, even repeatedly, and not end with a smile on your face.
This film, for what it is, is near perfect. It absolutely accomplished what it set out to do and that’s probably why it has stood the test of time and is one of the most beloved Disney animated classics that typically finds itself near the top of most people’s list.
Rating: 9.5/10 Pairs well with: other Disney animated films of the 1950s.