HERMAN COHEN could take a 50-Cent Budget, and turn it into a Thousand Dollar Profit, so to speak. This is the story of a motion picture producer, whose product, 1950's pre-teens and teens, allegorically, ate up, but never paid attention to who made this food from the movie gods.
Above, Herman Cohen in 1958, with a double-bill poster he used in 1958's, "How to Make a Monster", but let's start at the beginning, with his birth, in Detroit, Michigan, on August 27, 1925. I looked for information about Herman's parents and childhood before his 12th birthday, and could not find anything.
However, our story can start when he was 12-years-old, in 1937, and at the "Dexter Theater", 11614 Dexter, Detroit, Michigan, where Herman Cohen had his first job. https://cinematreasures.org/theaters/4717
This neighborhood house, which opened in 1926 and could seat just over 1200 is notable for the fact that future Fox Theatre owner (and film producer, Herman Cohen, best known for “I Was A Teenage Werewolf”) got his first job here, as an usher and later, a manager in the 40s.
Herman Cohen became the manager of the "Dexter", when he turned 18 in 1943, below the 5,000-seat "Fox Theatre", at 2211 Woodward Avenue, that one day, assistant manager Cohen, would own.
We know, as confirmed by me, that Herman Cohen served a tour of duty with the "Marine Corps" and was discharged in 1949. Using that year as the end of a normal tour of duty, Herman probably enlisted in 1945, at the end of the Second World War.
Which brings me to a slight biographical problem, because Herman Cohen is mentioned in several sources as starting his motion picture work as a "Sales Manager" in the "Detroit Area", for "King" Harry Cohn's, "Columbia Pictures", after his discharge.
However, without acknowledging the source, the website "Wikipedia":
https://en.wikipedia.org/wiki/Herman_Cohen
has this entry:
After a tour of duty with the Marines, Cohen became sales manager for Columbia Pictures in the Detroit Area and moved to Hollywood to work for the publicity department of Columbia in the 1940s.
IF, Herman Cohen was only discharged from the Marine Corps in 1949, and both positions are stated as starting after his discharge in the 1940's. More probably, these positions only started in mid, or late 1949 and the first didn't last long before the studio moved him to Hollywood.
However, I can confirm when Herman Cohen became directly involved in the production of motion pictures, and that was in September 1951, for "Realart Pictures, Incorporated". A motion picture distribution company for re-issued motion pictures and many from "Universal Pictures". Below, is the "Realart", 1951, re-release poster, for 1931's, "Frankenstein". Notice there is no mention of "Universal Pictures" on the poster. Below that, is one of the original 1931 posters, mentioning "Universal Pictures".
"Realart" was founded by Jack Broder and Joseph Harris in 1947, as I said, to re-distribute motion pictures years after they had been made and in many cases forgotten. However, Broder, also established "Jack Broder Productions" to make his own low-budget feature films.
In that September 1951, a Western went into production from "Jack Broder (JB) Productions", and the "Associate Producer" was 25-years-old Herman Cohen,
THE BUSHWHACKERS premiered December 7, 1951, in Boston, Massachusetts
The motion picture was directed by Rod Amateau, this was his first directing position, and he moved to television. However, in 1987, Amateau did direct "The Garbage Pail Kids Movie".
The screenplay was written by:
Tom Gries billed as Thomas S. Gries, he co-wrote producer-director, Bert I. Gordon's, 1955, "King Dinosaur". Later, he would write and direct 1967's, "Will Penny", and 1969's, "100 Rifles", among his other work in both professions.
Rod Amateau was the other co-writer.
The Interesting Cast:
John Ireland portrayed "Jefferson Waring". Ireland had just portrayed "General William Quantrill" in the Alan Ladd and Lizabeth Scott, 1951, "Red Mountain". He next co-starred with Yvonne DeCarlo in the 1952, adventure film, "Hurricane Smith". My article is "John Ireland: Westerns, Film-Noirs, A Little McCarthyism and a Few Affairs" found at:
Wayne Morris portrayed "Marshall John Harding". Before becoming a highly decorated Second World War Naval Flyer, Morris appeared in some interesting motion pictures. Among these were 1937's, "Kid Galahad", the boxing movie co-starred Bette Davis and Edward G. Robinson, with 3rd-billed, Humphrey Bogart, and in the title role, 4th-billed Morris. In 1938, he co-starred with Priscilla Lane, in the comedy "Brother Rat", but with 6th-billing was Ronald Reagan, and at 7th-billing, Reagan's future wife, Jane Wyman. Wayne Morris starred in 1939's "The Return of Doctor X", co-starring Humphrey Bogart as the brought back to life title character. In 1940, he was back in "Brother Rat and the Baby". The actor's last motion picture, before he enlisted, was 1941's, "The Smiling Ghost", a Dark Comedy, co-starring with Brenda Marshall and Alexis Smith.
Dorothy Malone portrayed "Cathy Sharpe". Malone started with 9-uncredited roles for 1943 and 1944. She stole a scene from Humphrey Bogart as the "Acme Book Shop Proprietress"in 1945's, "The Big Sleep", and had just co-starred with Tim Holt and Robert Livingston in the "B" Western 1951's, "Saddle Legion".
Above left, Wayne Morris, above right, Dorothy Malone and John Ireland
Lawrence Tierney portrayed "Sam Tobin". His second on-screen role was uncredited portraying "Louie Parker", in producer Val Lewton's, the 1943,"Ghost Ship", in 1945, Tierney was "John Dillinger", in the motion picture "Dillinger", with Anne Jeffreys as the infamous, "Lady in Red", and going forward most of his motion pictures were crime dramas.
Lon Chaney portrayed "Artemus Taylor". Lon had just co-starred in the Raymond Burr and Barbara Payton, 1951, cult horror movie, "Bride of the Gorilla". My article is "Lon Chaney, Jr. 'Of Mice and Werewolves" awaiting you by the full moon at:
Myrna Dell portrayed "Nora Taylor". Dell began her career as a show girl in the "Earl Carroll Review" in New York City, and her first on-screen appearance was in a film version of the review. However, between 1940 and 1990, the "B" actress had 90 roles divided between motion pictures, mostly film-noirs and westerns, and television. In 8-episodes of Dan Duryea's television series, "China Smith", she was the evil, "Empress Shira".
The plot of Herman Cohen's first motion picture was typical "B" Western fare. Set after the Civil War, veteran "Jefferson Waring" is weary from the past war and while riding through Missouri, he watches some squatters "mowed down" by men working for the rich and ruthless, "Artemus Taylor". "Waring" comes to "Independence", makes friends with newspaperman "Peter Sharp", portrayed by Frank Marlowe, and this is part of the set-up for the love story that follows. As "Jefferson" is told to catch up on his sleep and use "Peter's" daughter, "Cathy's", room. Unaware of why there's a man she doesn't know in her bedroom. "Cathy Sharp" has him arrested by "Marshal John Harding", who's on "Taylor's" payroll.
The truth behind why the squatters and others are being murdered by the men working for the semi-blind and wheelchair bound "Artemus" comes out. "Artemus" and his daughter, "Norah", seem to be the only two people in "Independence, Missouri" knowing that railroad surveyor's are at work determining if the railroad will come to the town and are buying up land along the purposed right-of-way.
This will all lead to "Jeff Waring" taking on "John Harding" and the other's on the "Taylor" payroll. "Jeff" is charged by "Harding" for two murders by "Artemus's" henchman, "Ding' Bell", portrayed by William "Bill" Holmes, who "Warning" had killed. However, the killing of "Cathy's" father, leads to the final confrontation and take-down of "Harding" and the "Taylor's" by "Jeff" and "Cathy". The picture ends with the two now running her father's newspaper.
Two motion pictures later, found Associate Producer Herman Cohen co-producing a motion picture, for "Realart", that had comedian Jerry Lewis screaming LAWSUIT!
BELA LUGOSI MEETS A BROOKLYN GORILLA aka: THE BOYS FROM BROOKLYN aka in the United Kingdom MONSTER MEETS THE GORILLA premiered in New York City on September 4, 1952
The screenplay was by Tim Ryan, 157-roles as an actor from 1935 through 1957, and this was his 40th-comedy screenplay since 1936. Additional dialogue by Edmond Seward, he had been writing since 1933, and this was his last screenplay. Actor, Leo "Ukie" Sherin also added additional dialogue, this was his 4th-screenplay, since 1936, as an actor "Ukie" appeared on-screen, 6-times, between 1950 and 1962.
The motion picture was directed by William Beaudine, between directing short motion pictures starting in 1915, through multiple episodes of television programs in 1972. Beaudine directed human actor's and dog actor's, "Rin-Tin-Tin" and "Lassie", 592-times.
Bela Lugosi portrayed "Dr. Zabor". Unfortunately this was another in the down turns of the actor. He had just appeared in the British comedy, 1952's, "Mother Riley Meets the Vampire" aka: "Vampire Over London". Bela would follow this comedy with director and actor, Edward D. Wood, Jr's, 1953,"Glen or Glenda", with Lyle Talbot.
The reason for the Jerry Lewis lawsuit, was a new comic team in their first motion picture.
Duke Mitchell portrayed "Duke Mitchell". The Italian crooner, slapstick comedian, actor, and 1970's director and writer of two movies, had some resemblance to Dean Martin in both background and appearance.
Sammy Petrillo portrayed Sammy Petrillo. Petrillo was a nightclub comedian known for his Jerry Lewis impersonations.
Now, compare this duo with the following 1952 photo of Martin and Lewis.
It was too obvious to Jerry Lewis that the producers, which included Herman Cohen, had put Mitchell and Petrillo together to play off of them and he screamed lawsuit.
Martin and Lewis wanted to sue, they were under contract to producer Hal B. Wallis and "Paramount Pictures", and he also wanted to sue Jack Broder. All four were members of the "Friars Club of Beverly Hills" and Wallis and Broder met at the club to settle the lawsuit, before it got to court. The original idea was Broder wouldn't release the motion picture for a certain amount of money. However, the two couldn't agree to that amount, and Jack Broder released the picture to recapture his losses.
As to the screenplay, it also was rip-off on the style of any of the six Martin and Lewis films, after 1950's, "My Friend Irma Goes West", to this feature's release.
Duke Mitchell and Sammy Petrillo needing haircuts and bearded, are asleep on the ground in a jungle wearing tuxedoes. At the instruction of the island chief's daughter, they are clean shaven, their clothes cleaned, all before the two wake up. Then the audience learns the two were on their way to Guam to entertain the troops there, opened the wrong door of their airplane, and both fell out of it. They next meet the island chief, "Chief Rakos", portrayed by Al Kikume, and his two-daughters, one for each. "Nona", portrayed by Brooklyn born, Charlita, and "Saloma", portrayed by Muriel Landers.
Then they meet the made scientist, "Dr. Zabor", that leads to Sammy delivering the line:
Ain't this the fellow that goes around with the hand and the face, biting people on the neck and wearing capes?
Giving my reader the quality of this movie as "Dr. Zabor" changes Duke into the gorilla. Which leads to vaudeville like comic situations until the end of the picture, when Duke becomes Duke.
For those of my reader who want to see the motion picture, the following link will take you to it.
Next came an excellent and forgotten "B Plus Historical Western" from producer Jack Broder and Associate Producer Herman Cohen, 1952's, "Battles of Chief Pontiac".
The screenplay was written by Jack DeWitt, the motion picture directed by Felix E. Feist, and starring an excellent and compelling Lon Chaney in the title role.
TARGET EARTH released on November 7, 1954
This was the first science fiction film that was produced solely by Herman Cohen. It was also the first entry of a group of 1950's science fiction and horror motion picture's that his name would be associated with.
The screenplay was based upon a short story by Paul W. Fairman, entitled "Deadly City". Another of Fairman's stories, "The Cosmic Frame", became 1957s', "Invasion of the Saucer Men", and 10-years-later, that story became 1967's, "The Eye Creatures" aka: "Attack of the Eye Creatures".
There were three screenplay writers, one was James H. Nicholson. The following is an excerpt from my linked article under Richard Denning:
One of the four writers for this picture was James H. Nicholson, a very good motion picture publicity man. He offered Herman Cohen a partnership to start a distribution movie company and also make low-budget films of their own. However, Cohen wasn't available at the time. So, Nicholson, with his new partner, Samuel Z. Arkoff, took the Independent film company that made "Target Earth", and several other indies, and consolidated them under the banner of "American International Pictures".
The other two writers were:
William Raynor billed as Bill Raynor, who started writing screenplays with 1950's, "Snow Dog", starring future television's "Sky King", Kirby Grant. In 1954, he co-wrote "Killers from Space", a story that Peter Graves wanted to forget. Raymor would end his writing career with 22-episodes of the "Dukes of Hazard".
Wyott Ordung only worked on 5-screenplays. Beside's this motion picture, were two other science fiction cult film's, 1953's, "Robot Monster", and 1959's, "First Man in Space".
This motion picture was directed by Sherman A. Rose. Rose was actually a film-editor for 58-movies, turned director for only 4-movies, this was his first.
Richard Denning portrayed "Frank Brooks". Denning had just finished a 1952 through 1954 television program, "Mr. and Mrs. North". He would shortly follow this motion picture with 1955's, "The Creature with the Atom Brain".
Kathleen Crowley portrayed "Nora King". Crowley was basically a television actress with the occasional "B" movie, but in her 105 roles. Some did involve multiple appearances, like 17-episodes as "Terry Van Buren", in Preston Foster's, 1954 - 1955, television series, "Waterfront".
Virginia Grey portrayed "Vicki Harris". Grey actually had 1st-billing to Richard Denning's 3rd-billing, in the science fiction, 1948's, "Unknown Island", see my above linked article. In 1955's, "Republic Picture's" version of the "Alamo", "The Last Command", the actress portrayed "Mrs. Dickinson".
Richard Reeves portrayed "Jim Wilson". Between 1952 and 1956, Reeves had 5-different bad guy roles on television's "The Adventures of Superman". Reeves 1st-on-screen appearance was in the Irving Berlin musical, 1943's, "This Is the Army", as part of the chorus. His final film, 273-roles later was as a "Hit Man", in the multi-"James Bond's" comedy, 1967's, "Casino Royale".
Above, notice the change in billing between Virginia Grey and Kathleen Crowley.
Robert Roark portrayed "Davis, the killer", with pistol below. His first credited on-screen role was as a "Guard", in the Peter Graves science fiction, 1954, "Killers from Space". Then, immediately back to the uncredited role of "Captain Hussein", in the Debra Paget and Jeffrey Hunter, 1954, "Princess of the Nile", followed by this motion picture. Roark followed "Target Earth", with the uncredited role of "Cadet Pirelli", in director John Ford's, 1955, "The Long Gray Line",
Whit Bissell portrayed "Tom, Chief research scientist". Character actor Bissell, who will be mentioned again later, started acting as an uncredited "Palace Guard", in Errol Flynn's, 1940, "The Sea Hawk", and as an uncredited "London Bobbie", in the Basil Rathbone and Nigel Bruce, 1942, "Sherlock Holmes" and the Secret Weapon". Before this feature film, Bissell was seen in, 1954's, "The Creature from the Black Lagoon". He followed this feature film with the Mickey Rooney nuclear comedy, 1954, "The Atomic Kid". Along with the uncredited role of "Dr. Hill", in director Don Siegel's, 1956's, "The Invasion of the Body Snatchers".
Above, Whit Bissell, center, with one of the "Venusian Robots". While, looking at the robot is "Lieutenant General Wood", portrayed by Arthur Space. The other officer is, "Lieutenant Drake", portrayed by James Drake.
The Very Thin and To Much Talking Screenplay:
A group of people are overlooked in Chicago during the evacuation of the entire city from a suspected invasion by the planet Venus. All the robots, actually only one was made, are played by Steve Calvert.
The film is nothing more than these different people interacting with each other and avoiding the robots.
The picture opens with the failed suicide of "Nora King". She awakes the next morning to a deserted city. Outside "Nora" trips over the body of a dead women and meets "Frank Brooks". Who just regain consciousness from a mugging the previous night.
The two hear music coming from a deserted nightclub and discover another couple, "Vickie Harris" and "Jim Wilson".
The four now walk the deserted streets and meet "Charles Ottis", portrayed by Mort Marshall. "Ottis" confirms that all the cars on the street won't start for some reason. The group starts to feel apprehensive as everywhere they turn the city is empty and they're the only ones apparently in it.
In a hotel "Ottis" reads a newspaper about an invading army from "Venus", panics, and runs outside, only to meet the death ray of a "Venusian" robot.
Meanwhile, the military under "Lieutenant General Wood" arrive and a command post is set up. Research scientist "Tom" is told to figure out how a robot with its "Death Ray" could have been destroyed?
While, our group of survivors discover that not all the people left in the city are good. They meet "Davis", a psychotic killer. Who will be killed later by one of the many robots walking the streets.
Above Virginia Grey, Richard Reeves, Richard Denning, Robert Roark and Kathleen Crowley.
"Nora" and "Frank", the last survivors of their group, join up with a military patrol that has a newly developed weapon, that produces a certain sound frequency, to use against the invaders.
The invasion is stopped and "Nora" and "Frank" go off together.
"Target Earth" was typical of the Space Invasion movies and television shows of the first half of the 1950's. For my reader interested in these sometime really low budget Science Fiction entries. My article "Invaders from Mars, Except When They Came from Venus, or Planet 'X'" can be found at:
http://www.bewaretheblog.com/2015/07/invaders-from-mars-except-when-they.html
Next, for producer Herman Cohen was the completely forgotten, 1956, comedy, "Magnificent Roughnecks". The picture starred motion picture comedian Jack Carson, his first motion picture role was as a "Gas Station Attendant", in director Fritz Lang's, 1937, "You Only Live Once", starring Henry Fonda, and Sylvia Sidney.
Mickey Rooney, co-starred with Carson, and had just taken over for Donald O'Connor in the "Francis the Talking Mule" comedy series, with 1956's, "Francis in the Haunted House".
Next, Herman Cohen partnered with producer Robert B. Goldstein aka: Bob Goldstein for three motion pictures. Two of the three, featured Raymond Burr as, of course, the villain. They were the "B" Western, 1956's, "The Brass Legend", starring from television's "The Life and Legend of Wyatt Earp", Hugh O'Brien. The second feature had Burr co-starring with Barbara Stanwyck, and Sterling Hayden, in the 1956, "Crime of Passion". Should my reader be interested in a brief look at both features. My article is "RAYMOND BURR BEFORE PERRY MASON: Film-Noirs, 'B' Westerns, A Certain Monster, and the Queen of the Nile", found at:
Back on Sunday, June 20, 1948, at 8 PM EST, a television variety show premiered called "The Talk of the Town". Named for the long running radio program it had been spun off from. Eventually, it would be known by the host's name, the syndicated entertainment writer for both the "New York Daily News", and "Chicago Tribune's", and the host of the radio program, as "The Ed Sullivan Show".
I bring this up as at that time, most Americans could not afford even a black and white television set.
The "Philco", 12 1/2 inch" set, in 1950, cost between $149.95 and $200.00, equal as of this writing to $1,989.79 and $2,653.93. "Magnavox" television's were about the same price and size, but "RCA" television's were slightly higher.
However, by 1953, most "Baby Boomer Families" now had one television set. The average size was either 14, or 17-inches, with an average price of $185.00, equal today to $2,215.84.
I bring this up, because American's had become addicted to television by that year. Besides, Sunday night's, the "Ed Sullivan Show", there were many Western series, such as "The Cisco Kid", and "The Lone Ranger". Also with favorite motion picture western stars, "Hopalong Cassidy", "Gene Autry" and "Roy Rodgers". I write about just these Western televisions programs in my article, "HI HO SILVER, AWAY: The 1950's When WESTERNS Dominated the Airwaves", at: https://www.bewaretheblog.com/2018/01/xxxxx.html
I open that article with:
When I was 5 years old. I wanted to be a Cowboy like those on the television screen and so did other little boys of the 1950's. In 1949 the first weekly television Western show appeared and by the late 1950's as many as 46 Western programs were on the airways every week. No other genre would ever equal the American Television Western and they thrilled many a young boy, like myself, and grown ups as well.
Besides Westerns, there were detective shows, anthology drama series, and of course "I Love Lucy", that came on the air on October 15, 1951 and would broadcast the last original program on May 6, 1957. 1950's television had other family programs like, "The Danny Thomas Show", and "Fathers Knows Best". Walt Disney got into the act with 1955's, "Disneyland" and "The Mickey Mouse Club". For my readers who might be interested by article is "M. I. C. K. E. Y. M. O. U. S. E.: Walt Disney's Original Mickey Mouse Club, 1955 To 1959: An Honorary Mouseketeer In Good Standing Remembers" at:
I looked at another popular type of Television programing at the start of the 1950's, science fiction. My article for those of my readers who might be interested is "Boldly Going Before Kirk and Spock: 1950's TV Science Fiction" blasting off at:
My point in this little history lesson is that the term "The Boob Tube" was coined. As American families sat night after night watching their televisions. While, the Motion Picture Industry suffered low audience attendance for the major studios, even after trying to draw them back with the Third-Dimension, Cinerama, and CinemaScope.
The only movie houses that were thriving, seemed to be the "Drive-In's". However, during the 1950's, this was because of teenagers using "Drive-In Theater's" not to watch the double-bill, but "Neck" in the dark. Then there was the fun of loading-up a VW Bug, or other car. with as many friends as you can, for that one price admission. Then, sit on the car, or in the playground area, and, perhaps, actually watch the movies, or neck.
Enter some very smart "Independent" movie studios, such as the previously mentioned "American International Pictures", and producers like Bert I. Gordon, William Castle, and HERMAN COHEN, that aimed their quickie made features at the teenage and pre-teen audience. As this audience could talk their parents into the price of admission and peace and quiet on weekends. The average adult ticket price was 50-cents.
For those of my readers familiar with the other two names I just mentioned. My articles are: "Growing Up on a Diet of 'Mr. B.I. G. (BERT I. GORDON)': Giants, Little People and Grasshoppers" at:
"A Tale of WILLIAM CASTLE the Motion Picture 'GIMMICK KING" will be found at:
After working with Barbara Stanwyck, Herman Cohen turned to Whit Bissell, and an unknown television actor. Whose first on-screen role was portraying "Clyde Meacham", on a forgotten, only 2-episodes were made, television program, 1955's, "Luke and the Tenderfoot". Edgar Buchanan starred as "Luke Herkimer". Four-other's listed in the cast, were Charles Bronson portraying "John Wesley Hardin", Lee Van Cleef portraying "Johnny Dark", Richard Jaeckel portrayed "Sandy Burke", and Leonard Nimoy portraying "Ted Sherill"
The following three motion pictures are described as science fiction - horror.
I WAS A TEENAGE WEREWOLF released June 19, 1957
The original story and screenplay were by both Herman Cohen and Aben Kandel. Kandel was a professional boxer, novelist, and screenplay writer since 1935. Who had attended "New York University Law School", served in the "United States Army" during the First World War, and joined the "Coast Guard Geodetic Survey" afterwards.
The motion picture was directed by Gene Fowler, Jr. Who began his motion picture work, in 1935, as a film editor, and started directing with the original Dan Duryea television program, "China Smith", in 1952. Just before this motion picture, Fowler, Jr. directed 11-episodes of Duryea's "New Adventures of China Smith". He would follow this motion picture with the "B" Western, 1958's, "Showdown at Boot Hill", starring Charles Bronson and John Carradine.
Michael Landon portrayed "Tony Rivers". This was 16-years before Landon starred on television's "Little House on the Prairie". Basically the young actor was appearing on television with an occasional motion picture prior to, and after this feature film. One of his notable "B" Western's was based upon the "Kingston Trio" hit song "Tom Dooley". That was turned into 1959's, "The Legend of Tom Dooley", set at the end of the American Civil War.
Yvonne Lime portrayed "Arlene Logan". Lime was basically a television actress. She appeared in 12-episodes of televisions "Father Knows Best", and in "The Hardy Boys in the Mystery of Ghost Farm", on "The Mickey Mouse Club". Her movies included, both 1958's, "Dragstrip Riot", and "High School Hellcats". However, after she retired for acting in 1969, Yvonne Lime married major television producer Don Fedderson. After his death in 1994, she became a philanthropist.
Whit Bissell portrayed "Dr. Alfred Brandon". Bissell had just portrayed "John P. Clum", in director John Sturges, 1957, "Gunfight at the O.K. Corral", and followed this motion picture as "Josiah Quincy", in Walt Disney's, 1958, "Johnny Tremain".
The following is modified from my article "Bridey Murphy: The 1950's Hypnotism-Regression-Reincarnation Motion Picture Craze" found at:
This could be described as James Dean's, 1955, "Rebel Without a Cause", meets Lon Chaney's, 1941, "The Wolf Man", with "Bridey Murphy" thrown in.
"Tony Rivers" is a troubled teenager who has problems with his father, gets into fights at his high school, and eats raw meat. "Detective Donovan", portrayed by Barney Phillips, suggests he might want to speak to a "Dr. Alfred Brandon", a psychologist, who works at the local aircraft plant, and is a practitioner of hypnotherapy.
Above left to right, Michael Landon, Charles Wilcox aka: Tony Marshall portraying "Jimmy", and Barney Phillips portraying "Detective Donovan". However, "Tony" refuses, and this concerns his girlfriend "Arlene", and his father "Charles", portrayed by Malcolm Atterbury.
In the middle of the teenage girls, above and below, is singer - dancer - actor Kenny Miller portraying "Tony's" best friend, "Vic". Miller sang in several teen movies of the 1950's. Below, Kenny's dance partner is Cynthia Chenault billed as Cindy Robbins portraying "Pearl".
"Vic", surprises "Tony" by touching him from the back. "Tony" turns and reacts by beating "Vic" up, stops, and realizes that he does need professional help.
"Tony" now goes to "Dr. Brandon", and after listening to his troubled life, instead of helping him. "Brandon" sees "Tony" as his perfect subject for his regression experiments. His assistant, "Dr. Hugo Wagner", portrayed by Joseph Mell, objects, protesting that the regression experiment might kill the teenager.
"Dr. Brandon" believes the only way for mankind to survive in the future earth he sees, is to hurl us back to our primitive state. This is the same premise used the year before, in the "Columbia Pictures", Sam Katzman production, 1956's excellent, "The Werewolf".
"Brandon" has created a Scopolamine serum, aka: "Devil's Breath", based solution to regress a person to their "primitive states". He lies to "Tony" that the serum will relax him during hypnosis. Now starts the first of a series of sessions that are slowly taking "Tony" back to childhood memories and then beyond his birth.
After a small party at the "Haunted House", "Tony" drives "Arlene" home. Later, another teenager, "Frank", portrayed by Michael Rougas, is taking a shortcut through the woods near the "Haunted House" to his home and is killed. "Detective Donovan" and "Police Chief P.F. Baker", portrayed by Robert Griffin, are reviewing photos of "Frank's" body and notice the fatal wounds all appear to be from fangs.
Later, the police department janitor, "Pepe (also spelled in some reviews as Pepi)", portrayed by Vladimir Sokoloff, is a native of the Carpathian Mountains, and convinces "Police Officer Chris Stanley", portrayed by, pre-Walt Disney's television's, "Zorro", Guy Williams to let him see the photos of "Frank".
"Pepe" tells "Chris" stories of people in his Carpathian mountains that turn into wolves at night. He believes the local police are dealing with such a person. "Chris" dismisses the idea of a werewolf as the killer.
At another session with "Dr. Brandon", "Tony" thinks there's something wrong with him, but the doctor reassures him otherwise. At school, "Tony" meets with "Principal Ferguson", portrayed by Louise Lewis. She tells him of "Dr. Brandon's" positive report on his behavior and that she is recommending "Tony" to attend State College. "Tony" leaves the Principal's office and is passing the gym, where a girl named "Theresa", portrayed by Dawn Richard, is practicing by herself. Suddenly, the school bell rings, and this triggers "Tony's" transformation into a scientifically created werewolf.
The "Teenage Werewolf" kills "Theresa", and flees the high school, but witnesses identify him to "Detective Donovan" from the clothing the primitive "Tony" is wearing."Chief Baker", issues an all-points bulletin for the arrest of "Tony Rivers".
"Detective Donovan" next confronts "Dr. Brandon", believing that he has something to do with what has happened to "Tony", but "Brandon" denies any connection. He states that his sessions with the teenager are just therapeutic.
Meanwhile, a local newspaper reporter named "Doyle", portrayed by Eddie Mar, interviews "Charles Rivers", "Arlene" and her parents, in the hope he'll get a clue to "Tony's" hiding place. While, "Chief Baker" and "Donovan" set a trap in the woods, where they presume the werewolf is in hiding. Watching the dragnet from those same woods, in his werewolf form, is "Tony", but he's attack by a dog let loose by the police to find him and kills it.
"Tony" wakes up the next morning as "Tony" and goes into town. At a telephone booth he calls "Arlene", but when she answers, he doesn't say a thing and hangs up. The police are in her house, but cannot trace the call. Next, "Tony" heads for "Dr. Brandon's", finds him, and begs for help. "Brandon" is obsessed with what he has done and wants proof to show the world. He asks the troubled teenager to lay down, gets out a movie camera to film the transformation, and lies once more to "Tony" that he will help him through hypnosis. "Tony Rivers" is once again injected and "Dr. Alfred Brandon" watches the transformation. "Tony" is still asleep under "Brandon's" hypnosis, when the telephone rings, suddenly alert, the werewolf kills both "Dr. Brandon" and "Dr. Wagner", breaking the camera and exposing the film in the process.
Alerted that "Tony" was spotted at "Dr. Brandon's", "Detective Donovan", and "Officer Stanley" break into the locked doctor's office. The werewolf starts to go for the two, they shoot him, and the dying werewolf turns back into "Tony Rivers". While, "Detective Donovan" speculates about "Dr. Brandon" interfering with the realms of God.
It may not have been a 50 Cent Budget, but depending on who you read. The final budget was either $82,000, $123,000, or somewhere in-between. What wasn't debatable, the final, original release, Box Office, was 2-million-dollars in that average 50-cent-Adult Admission world.
Herman Cohen thought, if a "Teenage Werewolf" was a money making venture, what about a teenage "Frankenstein", and "Dracula"?
Pertaining to this next motion picture, "The New York Times", January 30, 1958, looked at producer Herman Cohen's timing of his production's release to current events, or at least an impression of them.
As if by grim coincidence "I Was a Teenage Frankenstein" arrived at the Paramount yesterday at a time when the city's newspapers were carrying banner accounts of the deepening crisis brought on by teen-age violence. It is difficult to disassociate what was happening on the screen from the day's occurrences in the real world. Both were concerned with acts of physical violation.If you discount any immediate connection between the mass media and the temper of the culture, then the film warrants little attention. It is the old story of the mad scientist, played by Whit Bissell, who wants to advance human progress by creating the ideal human being. In this case, however, the automaton, enacted by Gary Conway, is a teen-ager assemble from the limbs of other teenagers.This is, in one sense, abhorrent. It forces one to acknowledge the impression that such films may aggravate the mass social sickness euphemistically termed "juvenile delinquency." Since a whole series of movies slanted to the teen-age market is expected in the months to come, it may be as good a time as any to raise the question of what effect this further indulgence of the cult of "teenism" ultimately could have.
Pertaining to "a whole series of movies slanted to the teen-age market is expected in the months to come", my article is "I Was a Teenage Werewolf: 1950's Teenage Horror and Science Fiction Movies" at:
I WAS A TEENAGE FRANKENSTEIN released on November 23, 1957
Herbert L. Strock directed the motion picture. Strock directed three films that made up a trilogy by producer Ivan Tors. My article is "Ivan Tors' 'Office of Scientific Investigation Trilogy" at"
The three films are 1953's, "The Magnetic Monster", 1954's, "Riders to the Stars", and 1954's, "GOG".
Whit Bissell portrayed "Professor Frankenstein". Bissell was just seen in the 1957 "B" Western, "The Tall Stranger", starring Joel McCrea and Virginia Mayo, and after this movie. The actor returned to guest appearances on television programs.
Phyllis Coates portrayed "Margaret". In 1951's, "Superman and the Mole Men", and the 1st-24-episodes of the television series, "The Adventures of Superman", Coates was reporter "Lois Lane". In 1952, she was in the "Second Red Scare" motion picture, "Invasion U.S.A.", with actress Noel Neill, the 1948 and 1950 cliff-hanger "Lois Lane". Who would replace Coates in the television series.
Robert Burton portrayed "Dr. Karlton". Character actor Burton started on-screen acting with the forgotten Janet Leigh comedy, 1952's, "Fearless Fagan". His work can be found in films such as 1952's, "The Bad and the Beautiful", director Don Siegel's, 1954, "Riot in Cell Block 11", 1955's, "The Last Command", 1959's, "Compulsion", 1962's, "Sweet Bird of Youth, 1962's, "The Birdman of Alcatraz", and the original, 1962, "The Manchurian Candidate". Along with numerous television appearances.
Gary Conway portrayed "Bob" and the "Teenage Monster". This was Conway's 1st-motion picture, he followed it portraying "Jarl" in my favorite director Rodger Corman title, 1957's, "The Saga of the Viking Women and Their Voyage to the Waters of the Great Sea Serpent".
"Dr. Karlton" is one of the American doctor's attending a lecture by visiting British medical lecturer, "Professor Frankenstein".
"Karlton" is talked into assisting the lecturer in his work, now relocated to the United States. He meets "Professor Frankenstein's" secretary, and girlfriend (?), who keeps callers to the house, away from the basement laboratory. Which is really a combination laboratory and morgue, and with the arrival of "Dr. Burton". "Frankenstein" shows his new assistant human body parts in drawers, to keep them separated and categorized, and an inside garbage disposal, a pet alligator in a lower pit.
There is a terrible traffic accident near "Frankenstein's" home, and before anyone else can arrive. "Professor Frankenstein" removes the body of the male teenage driver, and takes it to his basement laboratory. There, the two doctors remove a mangled arm and leg and replace it from "Frankenstein's" spare parts drawers. Next, the two doctors energize the dead body with electricity and bring it back to life with a heavily bandaged head.
There is a line delivered by Whit Bissell, keeping a straight face, to his teenage monster, that film critic Leonard Maltin, in his "Leonard Maltin's TV Guide 2009", called "Immortal":
Answer me! You have a civil tongue in your head! I know – I sewed it in there!
Suspicious secretary "Margaret" is overly curious about what is really going on in the basement? She goes down the stairs and meets the teenage monster, but doesn't say a thing about it to the professor.
The next night, the "Teenage Frankenstein" escapes the laboratory, and takes a night walk outside of the house. The curious, once handsome teenage boy, looking through a house window, sees a young woman, enters the house, and by accident kills her.
The next day, "Margaret", angry with the professor, tells him she knows the monster murdered the young woman.
"Dr. Karlton" has been sent out of town on an errand, and the professor tells "Margaret", as she knows about the teen monster, that he needs her assistance with his creation.
The professor rethinks the potential problem with "Margaret", has the "Teenage Frankenstein" kill her, and drops her body to the alligator to feed upon. Next, he tells his creation that they need to get him a new handsome face.
The two drive to lovers lane, so that the boy can select one.
There they see a couple, the boy is named "Bob", and the monster kills both the girl and "Bob" to obtain a new face.
After a successful surgery, "Professor Frankenstein" has transferred "Bob's" face to his creation and the "Teenage Frankenstein" appears very pleased with the result.
"Dr. Karlton" has returned and "Professor Frankenstein" informs him of his plan to present his creation to the United Kingdom scientist's that thought him insane. To get his creation to the United Kingdom he plans to cut him up and reassemble the teenager, Conway was 21-years-old, in England.
With the help of "Dr. Karlton" the two attempt to place the "Teenage Frankenstein" on an operating table, sedate him, and proceed to divide "Bob" up. However, he fights the two back, and throws "Frankenstein" into the alligator pit, as "Karlton" runs for help.
With the arrival of "Dr. Karlton and two police officers. The frightened teenager backs into the electrical panel, the movie turns into "Technicolor" as he is electrocuted.
"Dr. Karlton" tells the two police officers how he can't forget the other face and the color movie shows the audience:
"I Was a Teenage Frankenstein" was to be one-half of a double bill with what was originally entitled, "I Was a Teenage Dracula". After filming was completed on "Dracula", September 5, 1957 through September 20, 1957, and "Frankenstein", October 7, 1957 through October 22, 1957, the double bill was released on November 23, 1957, with a title change to "Dracula".
BLOOD OF DRACULA aka: BLOOD IS MY HERITAGE released on November 23, 1957
Above the United States poster, below the United Kingdom poster.
The motion picture was produced by Herman Cohen.
Once again directed by Herbert L. Strock, as the above timeline indicates, the month before he directed, "I Was a Teenage Frankenstein". However, "Dracula" was considered by "American International Pictures" as the lesser film of the double bill to be released. That will become clear, when I discuss the screenplay.
Let's here it for the "AIP" publicity department:
"Blood of Dracula" was written and credited by Ralph Thornton. Who in actuality, was once again, Herman Cohen and Aben Kandel.
Sandra Harrison portrayed "Nancy Perkins". This was the 1st of her 2-motion pictures, out of a career of only 12-roles, the rest being on television. Sandra Harrison (?) was born in Brooklyn, New York, on August 17, 1935. What she did before those 12-roles, and what she did until she married George Rose, in 1992, and after, I could not confirm. Her parent's last name was "Leopold", and when she died on September 2, 2022. Sandra's grave marker shows her as Sandra Harrison Leopold Rose. How she acquired the legal last name of Harrison, I could not locate. Multiple websites either list only her 12 acting roles, or just show one word, "actress", after her name and nothing more. Her life appears almost a mystery.
The website "Find a Grave" at:
Lists her family records and even includes her Hebrew name, and English pronunciation of Sarah bat Eliyahu Yisrael v'Slava, but this is partly another mystery. As her grave marker mentions she was a mother and grandmother, but I could not locate the name of her children and grandchildren.
Louise Lewis portrayed "Miss Branding". Lewis also acted under her birth name of Louise Fitch. She was basically a television actress from 1955 through 1994, with 72-roles. Only 3-roles came from motion pictures, and her other two movie roles were the uncredited role of "Mrs. Miller", in 1957's, "The Vampire", and, as I previously mentioned, "Principle Ferguson", in 1957's, "I Was a Teenage Werewolf".
"Count Dracula" in any form, is nowhere to be seen in this motion picture. The closest reference to him, is mentioning the "Carpathian Mountains".
Herman Cohen was on a tight production timeline to make two feature films. The total budget for both features was less than the same year's, "I Was a Teenage Werewolf". So, it's pardonable to remake another screenplay with slight modifications.
Six-weeks after the death and funeral for her mother, "Nancy Perkin's" father, "Mr. Perkins", portrayed by Thomas Browne Henry, marries the much younger "Doris", portrayed by Jeanne Dean. He then dumps his 18-years-old daughter, a troublesome youth who smokes, in the "Sherwood School for Girls".
"Nancy" meets the school's principal, "Mrs. Thorndyke", portrayed by Mary Adams, and taken to her room.
"Nancy" unofficially meets the other girls and reacts to their harassment, but does not tell "Mrs. Thorndyke".
Which makes her acceptable to the other young woman at the so-called private preparatory school. Not, as her father told her, a correctional institution, that he would have preferred to place her in.
The following morning "Nancy Perkins" is "Officially" introduced to the others and their leader, "Myra", portrayed by Gail Ganley. Who tells her about their secret club, "The Birds of Paradise", and about the grounds keeper, "Eddie", portrayed by Don Devlin. Whom each of "The Bird's" take turns dating and sneaking him into their dom.
"Myra" is the assistant to the chemistry teacher, "Miss Branding", and from this point forward. My reader, or the picture's viewer, can see the reworking of "I Was a Teenage Werewolf".
"Miss Branding" is working on a thesis that in each of us is the hidden power to destroy the entire world, if only someone could bring it out. "Miss Branding" further believes, that if she could demonstrate this power, the world leaders would stop their experiments with nuclear weapons and other weapons of mass destruction. Her problem, where does she find that perfect subject? "
In "Miss Branding's" class, "Myra", who views "Nancy" as a rival for leader of "The Bird's", and her friend "Nola", portrayed by Heather Ames, switch a chemical at "Nancy's" work space. Using it, causes "Nancy" to be burned. The burn causes "Nancy Perkins" to become extremely violent in class. "Miss Branding" has found her subject!
"Miss Branding" asks "Nancy" to visit her in her office and establishes a friendship with the troubled girl. The chemistry teacher asks her student, if she might hypnotize her and "Nancy" agrees, fully trusting the one person she can freely talk too, "Miss Branding".
"Miss Branding" brings out an ancient amulet, the connection to the Carpathian Mountains, and uses it to hypnotize "Nancy Perkins". She also instructs "Nancy" to always obey her. The session ends and "Nancy" returns to the dorm
Still not knowing who changed the chemical on her, "Nancy's" initiation party into "The Birds of Paradise" takes place. The girl's sneak in "Eddie", his friend, "Joe", portrayed by "Jimmy Hayes", and his friend "Tab", portrayed by Jerry Blaine. Blaine wrote and sings, "Puppy Love" in the girl's dorm.He had written the song that Kenny Miller sang in "I Was a Teenage Werewolf".
The party is broken up by the art teacher, "Miss Rivers", portrayed by Edna Holland. Back in her office, "Miss Branding" sends a hypnotic suggestion to "Nancy Perkins". While, "Miss Rivers" sends "Nola" to the basement to get some supplies, and there, "Nola" is murdered by someone.
The next morning, "Nola's" murder is being investigated by "Detective-Sergeant Stewart", portrayed by Richard Devon. Meanwhile, "Nancy" can't wake up until "Miss Branding" orders her too. When she relates a nightmare to "Miss Branding", the chemistry teacher instructs her to forget it.
Meanwhile, at the police station, the coroner informs "Lieutenant Dunlap", portrayed by Malcolm Atterbury, that he found two puncture marks on "Nola's" jugular vein and the body was drained of blood. Hearing this, the coroner's young assistant, "Mike", portrayed by Paul Maxwell, who shared a room at medical school with an exchange student from the Carpathian Mountains, tells the coroner and the detective, tales of vampires. "Lt. Dunlap" is unimpressed by such a wild tale.
The now closed in 2021 website, "DVD Verdict", had this to say about the motion picture:
Blood of Dracula has nothing to do with Dracula, but rather taints the vampire legend into the fate of a cranky teenage girl. The film basically takes the same route as I Was a Teenage Werewolf, but never lives up to that effort, especially with Harrison’s monster turns kept to a bare minimum. But her wild bat make-up is memorable, looking closer to 'Nosferatu' with big hair than anything else, and an impromptu musical number, 'Puppy Love' is a hoot.
Pertaining to make-up artist, Phillip Scheer's work, he did "I Was a Teenage Werewolf", "I Was a Teenage Frankenstein", and the next motion picture I will be mentioning. Let's take a look at "Vampire Nancy Perkins":
"The Birds of Paradise" organize a nighttime scavenger hunt in the local cemetery, nice place for a vampire murder or two, and "Nancy" kills both the club member "Terry", portrayed by Shirley Delancey, billed as Shirley De Lancey, and "Tab".
At the police station, all the "The Birds of Paradise" take a lie-detector test about the murders, but "Miss Branding" is able to control "Nancy Perkins's" responses by remote control hypnosis. Back at school, a frightened and confused "Nancy", now realizing her nightmares are not nightmares, but reality. Asks "Miss Branding" for help stopping her transformation, but "Branding", instead, tells her that "The Experiment" will soon be over, and "Nancy" will be proud of her contribution to save mankind from extinction.
Next, the State threatens to take over the school, because of the unsolved murders. "Mrs. Thorndyke" asks "Miss Branding" to help her, by taking over some of the principal's duties. This is followed by "Glenn", portrayed by Michael Hall, "Nancy's" boyfriend, arriving at school concerned for her. On the other hand, "Nancy" wants him gone, because she is afraid she will transform and kill him.
A frantic "Nancy" enters "Miss Branding's" laboratory and confronts "Branding" to free her, but the chemist obsessed with her "Success", hypnotizes "Nancy" into transforming so she can see her creation.
"Vampire Nancy" attacks chemist "Branding", and starts to strangle her with the chain around "Branding's" neck from the amulet, killing the teacher among her chemicals.
However, during their struggle, a chair was broken and "Nancy Perkins" is impaled through her heart by part of it.
The "United States Conference of Catholic Bishops" called "Blood of Dracula" a:
Low-budget chiller...in which a new student at a girl's prep school turns into a murderous vampire after falling under the hypnotic spell of the school's feminist science teacher ... Stylized violence, hokey menace and sexual innuendo.
Under the "Bishop's Rating System", the motion picture was for "Adults Only".
I would point out the use by the Catholic Bishops of the word: Feminist. As they have brought the subject up. Here is my article "Before Gloria Steinem: There Was Feminism In 1950's Science Fiction" for reading, Ladies, at:
Actually, the double bill made a nice profit for Herman Cohen. Next, he decided to use an idea that "Universal Pictures" had done three times before, in 1944, in 1945, and the last in 1948, as a Bud Abbott and Lou Costello comedy.
The title Herman Cohen chose was:
HOW TO MAKE A MONSTER released on July 1, 1958
I'll get to the tag line:
SEE THE GHASTLY GHOULS IN FLAMING COLOR!
Technically, by definition, there are no "Ghastly Ghouls" in this motion picture.
There are three, or is it two writers? On screen credit goes to Kenneth Langtry, but as my reader knows, he's actually Herman Cohen and Aben Kandel.
This would be the last time Herbert L. Strock directed for Cohen.
My reader should be familiar with the "Mad Scientist", but what about the "Mad Make-up Artist"?
Robert H. Harris portrayed "American International Pictures make-up artist Pete Dumond". Harris started television dramatic acting in 1948. Which was probably 99-percent of his acting career through 1978. Many of his roles were on forgotten programs, such as 11-episodes of the anthology series, "Suspense", 57-episodes of the 1949 - 1957, comedy series "The Goldbergs", 22-episodes of the 1957-1958, anthology series, "Court of Last Resort", and single and double episodes of programs with titles such as "Somerset Maugham TV Theatre", "Treasury Men in Action", "Tales of Tomorrow", "Willys Theatre Presents Ben Hecht's Tales of the City", and "Tom Corbett, Space Cadet".
Paul Brinegar portrayed the make-up artist assistant, "Rivero". He started on-screen acting in 1946, prior to this role, from 1955 through 1958, he was "Major Jim Kelley" on television's "The Life and Legend of Wyatt Earp", after this motion picture. Brinegar was "Wishbone", for 216-episodes of television's "Rawhide", 1959 - 1965.
Above left, Harris, and right, Brinegar.
Gary Conway portrayed "Tony Mantell, the actor portraying the Teenage Frankenstein". Conway was now a full time television actor, from 1963 through 1965, he portrayed "Detective Tim Tilson" for 64-episodes of Gene Barry's television series, "Burke's Law", and from 1968 through 1970, he portrayed "Captain Steve Burton", on television's "Land of the Giants".
Gary Clarke portrayed "Larry Drake, the actor portraying the Teenage Werewolf". Clarke started on-screen acting in 1957, he followed this feature film with the remake of the 1953, 3-D, science fiction "Cat-Women of the Moon", 1958's, "Missile to the Moon", from 1962 through 1964's, he was "Steve Hill", for 63-episodes of television's "The Virginian". Gary Clark continued television acting through 2012. However, he also wrote 6-episodes for the television comedy series, "Get Smart".
Above left, Gary Clarke, and on his right, Gary Conway.
Morris Ankrum portrayed "Police Captain Hancock". He holds the record for portraying a "Judge" on Raymond Burr's television series, "Perry Mason". Among his science fiction films are 1950's, "Rocketship X-M", and stop-motion animator Ray Harryhausen's, 1956, "Earth vs the Flying Saucers". My article is "Morris Ankrum The Face of 1950's Science Fiction/Horror Movies" at:
https://www.bewaretheblog.com/2016/02/morris-ankrum-face-of-classic-1950s.html
Above, Morris Ankrum is speaking to Richard H. Harris.
Robert Shayne portrayed "Gary Droz". Although Shayne started on-screen in 1929, to my television generation, he will always be "Inspector William 'Bill' Henderson", in 90-episodes of "The Adventures of Superman", 1952 through 1958. Although he was 1953's, "The Neanderthal Man", and appeared in, don't blink or you'll miss him, 1958's, science fiction cult classic, "The Lost Missile". My article is "Robert Shayne: Superman's 'Inspector Henderson' and 'B' Minus Science Fiction and Horror" found at:
https://www.bewaretheblog.com/2022/06/robert-shayne-supermans-detective.html
The motion picture opens with a tense black and white sequence, as the "Teenage Werewolf" is tracking down the "Teenage Frankenstein" in a dark forest right out of 1941's, "The Wolf Man". The two teenage opponents finally meet and:
"CUT!" Is yelled by the director, portrayed by Thomas Browne Henry
Above left to right, Thomas Browne Henry, Robert H. Harris, and Gary Clarke, on the set of the movie, "Werewolf Meets Frankenstein". Below, the director discusses the next scene with his "Teenage Werewolf".
Moving out of the sound stage, a tour bus arrives. and the audience sees that this is the "American International Pictures"studio.
Except it's not, it's one of the entrances to the "Republic Pictures" studio in Studio City, California, with that name replaced for the shot with the "AIP" sign. Look for the studio and you would only find rented office space on Gower Street in Hollywood, known as "Poverty Row".
"Hollywood, the Movie Capital of the World" may only have been a myth. My article about the founding of the city and the studios is "HOLLYWOOD: Segregated Housing, Motion Picture Studios and Movie Palaces" for myth busters at:
"Pete Dumond" had been the primary make-up artist at "American International Pictures" for 25-years. His speciality is horror and science fiction for which he received many awards. He considers his work on "Werewolf Meets Frankenstein" one of his greatest achievements. Then he receives news, as do other employees of "AIP", that the studio has been purchased by a company called "NBN Associates". That news doesn't worry "Pete", because they will need a primary make-up artist.
However, he next meets the new owners East Coast management team of "Jeffrey Clayton", portrayed by Paul Maxwell, and "John Nixon", portrayed by Eddie Mar.
Above, Robert H. Harris as Paul Maxwell's "Jeffrey Clayton" informs "Pete" that the new owners will not be making any more horror movies, but musicals and comedies. To illustrate his point, "Clayton" takes "Pete" to see a musical number being filmed with John Ashley, portraying himself.
If Ashley looks familiar? He starred in the similar to "Teenage Frankenstein", 1958's, "Frankenstein's Daughter", about the smashed head of a young woman put on a biker's body. John Ashley was a regular in "The Beach Party" movie series. That story, which was a result of a movie with a Paul Blaisdell monster, is "The Ghost of Dragstrip Hollow Meets the Ghost in the Invisible Bikini: The Story of the Beach Party Motion Pictures"surfing the pike at:
"Pete" is fired and goes mad seeking revenge. He develops a hypnotic make-up base to use on the two young actors turning them, when under his control, into the actual characters of the "Teenage Werewolf" and "Teenage Frankenstein". "Pete's" assistant "Rivero" attempts to get him to stop the murders, but still assists his friend.
The movie was shot in black in white, except the ending. This was the only color picture I could locate of Phillip Scheer's make-up for the two teenage monsters.
"Pete" applies the hypnotic make-up base to "Larry", and the "Teenage Werewolf" murders "John Nixon" in the projection room as he was watching the rushes on the John Ashley musical.
Next, "Security Guard Monahan", portrayed by Dennis Cross, who dreams of being a detective, show his notebook to "Pete" and "Rivero" that includes somewhat incriminating evidence of both still being on the studio lot at the time of "Nixon's" murder. Of course, he knows they had nothing to do with it, but while making his rounds at the studio commissary, a strange looking monster, "Pete", murders him and the notebook disappears.
As with the murder of "John Nixon", the murder of "Monahan" makes no sense, but "Captain Hancock" asks "Pete" and "Rivero", as others, to come into headquarters for questioning
Now "Pete" has "Tony" in his make-up chair, and the "Teenage Frankenstein" kills "Jeffrey Clayton" as he arrives home in his 1958 Lincoln Convertible. The problem is there was a witness,"Clayton's" maid "Millie", portrayed by Paulene Myers.
Two events take place, "Millie" describes, perfectly, the "Teenage Frankenstein" that ran past her after murdering "Clayton" to the police. Second, a police scientist has discovered traces of theatrical make-up, like seen in "Pete's" work space at the studio.
The police head for "Pete's" house, where a farewell party for "Pete" is about to take place. He has invited "Rivero", "Tony" and "Larry" over to his home. The house is decorated with some of the monsters that "Pete Dumond" has created over his career.
In actuality, these are items created for "American International Pictures" by Paul Blaisdell. My article is "Paul Blaisdell: 'American International Pictures' Creator of 1950's Alien's and Other Creatures" to read at:
As I mentioned earlier, "AIP" did not an actual studio and rented space on "Poverty Row". As a result they had limited storage space for props and decided to make space by burning up some of Paul Blaisdell's work in the climax of this feature film.
The movie turns color:
What "Larry" and "Tony" don't know, was while they were in the main room, "Pete" has murdered "Rivaro", who was going to tell the young actors and police everything, and locked the front door to keep the young actors in his house.
As "Pete" starts to go for "Larry" and 'Tony", "Larry" accidentally knocks over a candelabra setting the house of fire.
"Pete" insanely is yelling about the deaths of his children.
The police break down the front door and rescue the boys, as "Pete" and his children die in the blaze.
"Pete" is fired and goes mad seeking revenge. He develops a hypnotic make-up base to use on the two young actors turning them, when under his control, into the actual characters of the "Teenage Werewolf" and "Teenage Frankenstein". "Pete's" assistant "Rivero" attempts to get him to stop the murders, but still assists his friend.
The movie was shot in black in white and white, except the ending. This was the only color picture I could locate of Phillip Scheer's make-up for the two teenage monsters.
"Pete" applies the hypnotic make-up base to "Larry", and the "Teenage Werewolf" murders "John Nixon" in the projection room as he was watching the rushes on the John Ashley musical.
Next, "Security Guard Monahan", portrayed by Dennis Cross, who dreams of being a detective, shows his notebook to "Pete" and "Rivero". It includes somewhat incriminating evidence of both still being on the studio lot at the time of "Nixon's" murder. Of course, he knows they had nothing to do with it, but while making his rounds at the studio commissary, a strange looking monster, "Pete", murders him and the notebook disappears.
Like with the murder of "John Nixon", the murder of "Monahan" makes no sense, but "Captain Hancock" asks "Pete" and "Rivero", as others, to come in to headquarters for questioning
Now "Pete" has "Tony" in his make-up chair and the "Teenage Frankenstein" kills "Jeffrey Clayton" as he arrives home in his 1958 Lincoln Convertible. The problem is there was a witness,"Clayton's" maid "Millie", portrayed by Paulene Myers.
Two events take place, "Millie" describes, perfectly, the "Teenage Frankenstein" that ran past her after murdering "Clayton" to the police. Second, a police scientist has discovered traces of theatrical make-up, like seen in "Pete's" work space at the studio.
The police head for "Pete's" house, where a farewell party for "Pete" is about to take place. He has invited "Rivero", "Tony" and "Larry" over to his home. The house is decorated with some of the monsters that "Pete Dumond" has created over his career.
In actuality, these are items created for "American International Pictures" by Paul Blaisdell. My article is "Paul blaisdell: 'American International Pictures' Creator of 1950's Alien's and Other Creatures" to read at:
As I mentioned earlier, "AIP" did not have an actual studio and rented space on "Poverty Row". As a result they had a very limited storage space for props and decided to make space by burning up some of Paul Blaisdell's work in the climax of this feature film.
The movie turns color:
What "Larry" and "Tony" don't know, was while they were in the main room, "Pete" has murdered "Rivaro". Who was going to tell the young actors and the police everything. "Pete" has locked the front door to keep "Tony" and "Larry" in his house.
As "Pete" starts to go for "Larry" and 'Tony", "Larry" accidentally knocks over a candelabra setting the house of fire.
"Pete" insanely is yelling about the deaths of his children.
The police break down the front door and rescue the boys, as "Pete" and his children die in the blaze.
Herman Cohen crossed the pond, aka: Atlantic Ocean, to England and began making motion pictures in the United Kingdom. His first was a double bill for United Kingdom's "Anglo-Amalgamated Pictures" to be distributed in the United States by "American International Pictures".
HORRORS OF THE BLACK MUSEUM premiered in Brooklyn, New York on April 17, 1959, and in the United Kingdom on May 31, 1959
Above is the United States poster by "AIP", claiming the motion picture was in "HYPNO-VISTA". Below is the United Kingdom poster that does not mention "Hypno-Vista"
"AIP's" James H. Nicholson believed the movie as shot would not go over well in the United. This was the year of gimmick motion pictures. According to Herman Cohen, a 13-minute prologue was filmed and added to the 82-minute original British feature. In it, Nicholson had hired hypnotist lecturer Emile Francele to speak to the power of hypnosis. According to Cohen:
We tested it in a few theaters, and the audience went for it like crazy ... hokey as it was, It helped make the picture a success, I guess, 'cause people were looking for gimmicks at that time.
Once again the story and screenplay were by Herman Cohen and Aben Kandel.
The motion picture was directed by British director Arthur Crabtree, who started directing in 1945. He was directing television adventure programs such as 15-episodes of actor Rodger Moore's,"Ivanhoe". His last motion picture was 1958's, co-American and British science fiction production, "Fiend Without a Face", starring Marshall Thompson.
Herman Cohen wanted either Vincent Price, or Orson Welles for the lead, but the bean-counters at "Anglo-Amalgamated Pictures" flatly turned him down over the costs for either of the two actors. The role went to:
Michael Gough portraying Edmond Bancroft. Gough had started on-screen acting in 1946, in a British television production of playwright George Bernard Shaw's, "Androcles and the Lion". He had recently been in the cast of the satirical screwball comedy, 1958's, "The Horse's Mouth", starring Sir Alec Guinness, in 1989, Gough became known to American audiences as "Alfred Pennyworth", in director Tim Burton's, "Batman", a role he would repeat two more times.
The opening of this Horror-Thriller catches the audience. A package is delivered to a young woman, "Gail Dunlap", portrayed by Dorinda Stevens. Her roommate "Peggy", portrayed by Malou Pantera, helps open the package. Inside is a pair of binoculars, "Gail" goes to their apartment's window, puts the binoculars to her eyes, starts to adjust them, and falls over dead with her eyes punctured out.
"Peggy" is interviewed at Scotland Yard by "Superintendent Graham", portrayed by Geoffrey Keen, and "Inspector Lodge", portrayed by John Warwick. Enter journalist and crime novelist "Edmond Bancroft" and he asks to see the binoculars.
"Superintendent Graham" remarks that the binoculars are exactly like a pair in Scotland Yard's "Black Museum".
What follows would be a routine crime drama, but with several murders committed by items found in the "Black Museum" from previous crimes going back to before "Jack the Ripper".
The other major horror sequence comes after "Bancroft" meets with his mistress "Joan Berkley", portrayed by June Cunningham, at her home. After an argument, he leaves, and later, "Joan" gets in her bed for the night, looks up, and sees a hideous face and a guillotine. The face sets the guillotine in motion and "Joan" loses her head.
What is revealed, is that "Bancroft" has his own "Black Museum" in the basement of his home. He is a frustrated crime novelist and is hypnotizing, reason for the American prologue, his assistant "Rick", portrayed by Graham Currow, to commit the murders that he then writes about.
The climax comes at a carnival. where "Rick", unknown he has been hypnotized, is in the tunnel of love with his girlfriend "Angela Banks", portrayed by Shirley Anne Field, billed as Shirley Ann Field. "Angela" has seen "Bancroft's" "Black Museum" and "Rick" has told her about what he believes he has been doing. Inside the tunnel of love, "Rick" changes and stabs "Angela" to death and flees through the hall of mirrors, "Angela" is discovered, and police at the Carnaval go after "Rick".
"Rick" goes up the ferris wheel and is cornered up there. Meanwhile, "Superintendent Graham" and "Bancroft" hear about "Rick" and head for the Carnaval. Once there, the cornered "Rick" spots "Bancroft" and in a slurred voice starts to speak to the novelist. "Bancroft" tries to get the police to shoot him, but "Rick" jumps off the ferris wheel with the knife he killed "Angela" with and lands on "Bancroft", killing him.
The second half of the double bill premiered separately and the movies were combined after each premier for "General Audience" release:
THE HEADLESS GHOST premiered in New York City on April 29, 1959 and in the United Kingdom in June 1959.
Enter, once again, James H. Nicholson, who ordered Herman Cohen to shoot any film to make a double bill in the United States with "Horrors of the Black Museum". From the time Cohen received Nicholson's instructions, it took a total of 5-weeks, to have the motion picture written, cast, filmed, edited, and ready for American movie screens. This also included getting the equipment for the French wide-screen process, "Dyaliscope", because "Horrors" was filmed in CinemaScope.
Of course the screenplay was written by Cohen and Kandel.
The movie was directed by Peter Graham Scott, who had just finished the 1959 drama, "Breakout", starring Lee Patterson and Hazel Court. Later, in 1962, Scott directed Peter Cushing, Oliver Reed, and Yvonne Romain, in the "Dr. Syn" motion picture, "Captain Clegg" aka: "Night Creatures".
The above poster seems to imply this is a pure horror movie, it's not, and is a comedy horror feature.
The three actors on the left are 28-years-old, David Rose, portraying American student, "Ronnie", 25-years-old, Liliane Sottane, portraying Danish student, "Ingrid", and 25-years-old, Richard Lyon, portraying American student "Bill". The 3-teenagers enter the castle and help "The Headless Ghost" find his head. Above, the three "teens" are speaking to the ghost of the "4th Earl of Ambrose", portrayed by Clive Revill. Who is asking for their help with the bothersome "Malcolm, the Headless Ghost", who lost his head 600-years-before.
As of this writing the name of the actor who portrayed "Malcolm" is lost, or not mentioned in any records of the film's production.
As to the overall motion picture, Herman Cohen was quoted in Tom Weaver's, "Attack of the Monster Makers, Herman Cohen the London Years":
We knocked out that picture very, very fast; that's why the running time is so short, like sixty-five minutes ... In fact, we started Headless Ghost as I was still finishing Black Museum, editing and cutting it. But I honestly don't recall too much else about this picture, it was so bad.
Herman Cohen admired Merian C. Cooper's, 1931, "King Kong" and wanted to monkey around with a giant gorilla film of his own. Cohen got his chance, when "Anglo-Amalgamated Pictures" asked him for another exploitation motion picture and the producer moved into the next decade.
To begin with, Herman Cohen paid "RKO Pictures" $25,000, 1961 dollars, just over $270,000 dollars as of this writing, for the right to use the name "King Kong" for exploitation purposes.
Cohen's dream "King Kong" was called:
KONGA which premiered in Boston, Massachusetts, on March 22, 1961, but did not play anywhere else in the United States, or Massachusetts. Next the motion picture was released in the United Kingdom on March 26, 1961, but didn't go into General Audience release in the United States until May 3, 1961
Above, one of the United Kingdom posters for "KONGA" in "SpectaMation". For an explanation of the process I turn to an article dated March 23, 1961, by Michael S. Lottman, for "The Harvard Crimson":
With Konga, Herm has really gone big time. Teenage Werewolf, with a budget of $150,000, grossed $2 million; Konga cost $1 million just to produce. The film was made in England, where Cohen worked seven months to perfect SpectaMation--a technique of superimposition which apparently should revolutionize trick photography.
The story and screenplay was from Cohen and Kandel.
The motion picture was directed by John Lemont. Lemont's total directing credit, by this film, were 4-television programs and 2-motion pictures. In all, his total directing assignments were 10.
Michael Gough portrayed "Dr. Charles Decker". Gough followed this picture with 9th-billing in the Peter Sellers comedy, 1961's, "I Like Money".
Above is Paul Stockman in the "Konga" gorilla suit, nowhere on a par with stop-motion-animator Willis "Obie" O'Brien's "King Kong".
Herman Cohen's "King Kong" is definitely not "King Kong", and starts with the return of botanist "Dr. Charles Decker" from a year in Africa in which he learned a native way of growing plants and animals to enormous size. "Decker" also brought back a chimpanzee he named "Konga" to test his new theories upon. Margo Johns, below, portrayed "Margaret", "Decker's" assistant and lover.
"Decker" experiments on plants with his serum growing them to enormous size.
Next, he uses a small amount of the serum on "Konga" and the chimpanzee becomes a gorilla in size. "Dr. Charles Decker" has also gone somewhat insane and is able to hypnotize "Konga" to go out and kill two scientists. Who have been given higher regard by the British scientific community over "Decker". One is "Dean Foster", portrayed by Austin Trevor, meeting "Konga".
The second is "Professor Tagore", portrayed by George Pastell, Hammer film's 1959, "The Mummy".
"Dr. Decker" takes a group of students on a field trip, and makes inappropriate advances to "Sandra Banks", portrayed by Claire Gordon, that fires up her boyfriend, "Bob Kenton", portrayed by Jess Conrad, who tells the doctor hands off "Sandra".
At the time, "Decker" apologized and seems to back away from "Sandra", but sends "Konga" to kill "Bob".
"Margaret" catches "Charles" making sexual advances to a willing "Sandra" and offering her the place "Margaret" has with him. "Sandra" refuses, and "Decker" sexually assaults her. "Margaret" goes to "Konga" and attempts to hypnotize the ape, and gives him a very large dose of the serum.
"Margaret" becomes the first victim of the growing "Konga", and he keeps growing and breaks through the roof of the house.
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Next, "Konga" heads for the greenhouse and "Sandra" and "Decker".
As the military weapons takes their effect on him. As the military watch, the giant "Konga" shrinks back and a dead chimpanzee rests on the street.
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Producer Herman Cohen returned to co-writing the original story and screenplay with Aben Kandel.
For his third time, Michael Gough would star in a Herman Cohen motion picture.
BLACK ZOO aka: HORRORS OF THE BLACK ZOO possibly released first in the United Kingdom in January 1963, see below, and next, in Brooklyn, New York, on May 8, 1963
Needless to say, the screenplay was by Herman Cohen and Aben Kandel. The motion picture was American made, shot mainly at the "Raleigh Studios", established in 1915, at 5300 Melrose, Hollywood, and apparently going strong with several locations as I write these words:
The British, "The Monthly Bulletin", January 1, 1963, which would indicate that the film was released in the United Kingdom 5-months before its Brooklyn, New York, premier.
As a macabre essay, this has some unusual moments, notably the scenes showing the wild menagerie draped around the living-room furniture; but as a whole it suffers from an extravagant and rather silly script, and from Michael Gough's (perhaps inevitable) overplaying in the central role. Jeanne Cooper is rather fetching as his wife
All the other reviews, when I could even find one, are as little as one sentence. Mostly dealing with the performances, rather than the plot.
Michael Gough portrayed "Michael Conrad", the leader of a cult of big cat worshipers. He had just been seen in "Hammer Films", 1962, version of Gaston Leroux's, "The Phantom of the Opera", moved from Paris, France, to London, England.
"Conrad" owns "Conrad's Animal Kingdom", which consists of 3-loins, 1-lioness, a pair of cheetahs, a tiger, a black leopard, a cougar, and a gorilla that looks kind of familiar. All hypnotized, somehow, by "Michael Conrad" to kill selected people by him. So, much for the plot!
Above, Michael Gough taking care of his wife "Edna", portrayed by Jeanne Cooper. She portrayed "Katherine", on the daytime American soap opera, "The Young and the Restless", from 1973 through 2013.
"Elementary Watson, Jack the Ripper"
A STUDY IN TERROR had a limited run in the United Kingdom starting on October 26, 1965. However, the World Premier took place at the "Leicester Square Theatre", London, on November 4, 1965
Above, one of the United Kingdom's posters, below is one of the United States posters playing off the popular "Batman" television series at the time of this pictures release.
In April 1992, an article by Tom Weaver was published in "Fangoria Magazine".
Executive Producer Herman Cohen, had wanted to make a "Sherlock Holmes" motion picture for many years. He met with two British writers, brothers Donald and Derek Ford. They wanted to write a non-Sir Arthur Conan Doyle screenplay about "Holmes" solving the "Jack the Ripper" case. Cohen made contact with "Sir Nigel Films", named for a novel Conan Doyle set during the "100-years-war", a company the "Sir Arthur Conan Doyle Estate" had set up to handle his literary works for approval of use. The chairman of the board for "Sir Nigel Films", the author's son, also named Arthur, approved Herman Cohen's project and the first film showing "Sherlock Holmes vs Jack the Ripper" went into production.
The following paragraph comes from my article, "JACK THE RIPPER: In Motion Pictures and Television" at:
John Neville played Holmes, Donald Houston was Watson, Frank Finlay played Inspector Lestrade, Robert Morley was Mycroft Homes and the cast included Anthony Quayle, Judi Dench and Corin Redgrave. Neville and Houston were compared favorably to Basil Rathbone and Nigel Bruce and the film itself had mix reviews. However, it is a fun story and well written by brother’s Derek and Donald Ford. In 1966 a novelization was written by Ellery Queen and Paul W. Fairman.
Above left is John Neville portraying "Sherlock Holmes" with Donald Huston portraying "Dr. John H. Watson, M.D.". Below left to right is Robert Morley portraying "Sherlock's older brother, Mycroft Holmes", Donald Huston, John Neville, and Frank Finlay portraying "Scotland Yard Inspector G. Lestrade".
Above, Anthony Quayle portraying "Doctor Murray" speaking to John Neville. Below, Judi Dench portraying "Sally Young"
Above, John Fraser portraying "Edward Osborne, Lord Carfax", Judi Dench, and John Neville. Below, Adrienne Corri portraying "Angela Osborne".
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Peter Carsten portrayed "Max Steiner".
Obviously, I will not reveal who "Sherlock Holmes" determines is "Jack the Ripper", but the clues are there.
The website, "IMDb" describes the next Herman Cohen motion picture as a "Whodunit, Horror, Mystery, Thriller" https://www.imdb.com/title/tt0061398/?ref_=nm_flmg_job_1_cdt_t_5
BERSERK premiered in the United Kingdom in November 1967
The motion picture was directed by British director, Jim O'Connolly. O'Connolly had just directed the 3rd of his 7-feature films, the family comedy drama, 1965, "The Little One's". After this motion picture was released, 2 of the 4-episodes of actor Rodger Moore's, television series "The Saint", he had directed, were released as a single movie, 1969's, "Vendetta for a Saint". Also in 1969, as James O'Connolly, he directed the live action portions of stop-motion-animator Ray Harryhaussen's, "The Valley of Gwangi".
Joan Crawford portrayed "Monica Rivers". Crawford had just been seen in Season 3, Episode 28, "The Three Daughters Affair, Part One", on televisions, "The Man from U.N.C.L.E.". She would follow this motion picture seen in Season 6, Episode 22, "Lucy and the Lost Star", on televisions, "The Lucy Show". My article is "Joan Crawford: 7 Decades of Film Work" at:
Ty Hardin portrayed "Frank Hawkins". As Ty Hungerford, try spotting him in both 1958's, "The Space Children", and "I Married a Monster from Outer Space". From 1958 through 1962, he starred in the television western "Bronco", for 68-episodes. Ty Hardin was just seen as "Major Marcus Reno" in 1967's, "Custer of the West", and followed this motion picture with the Spanish - Italian motion picture 1968's "Ragan" aka "Devil's Angel".
Diana Dors portrayed "Matilda". Dors was considered a Marilyn Monroe - Jayne Mansfield British version. She co-starred in the Richard Johnson and Carol Lynley, 1967, "Danger Route". She followed this film with the Vince Edwards and Judy Geeson, 1968, "Hammerhead".
Michael Gough portrayed "Albert Dorado". Gough was just in a British television production of Jane Austin's, "Pride and Prejudice".
Judy Geeson portrayed "Angela Rivers". She was appearing on British television, but had just been in Sidney Poitier's, 1967, "To Sir, with Love".
"Monica" and "Albert" own a traveling circus, she runs it, and he is the business manager. During one performance, the tightrope for "Gaspar the Great", portrayed by Thomas Cimarro, breaks and he falls to his death. Examining the tightrope, the police believe someone tampered with it, but can't identify the person. "Monica" predicts "Gaspar's" death will create large publicity for the circus, but "Albert" is shocked at her insensitivity over the loss. "Albert" asks "Monica" to buy out his share of the circus, but she doesn't have the money.
Needing a replacement for "Gaspar", "Monica" hires handsome "Frank Hawkins". "Hawkins" is a daredevil who walks a tightrope over a carpet of sharp bayonets without a safety net between the bayonets and himself.
Shortly after hiring "Frank", "Albert" is found murdered by a spike hammered through the wall into his brain.
As with the "Gaspar", "Detective Superintendent Brooks", portrayed by Robert Hardy, and "Commissioner Dalby", portrayed by Geoffrey Kenn, investigate without success.
Members of the circus suspect "Monica" is behind "Albert's" murder. "Frank Hawkins" saw "Monica" leave "Albert's" trailer and attempts to blackmail her, but will remain silent if she makes him her partner in the circus. "Monica" agrees and everything seems to run smoothly for her and her new lover, "Frank".
That is until "Angela Rivers", "Monica's" daughter, shows up after being expelled from her private school. "Monica" decides to make "Angela" work for her living like any other member of her circus troupe. "Angela" becomes the target of the knife thrower "Gustavo", portrayed by "Peter Burton.
"Matilda" attempts to seduce "Frank", and this causes "Monica" to become very jealous.
Next, "Matilda" appears with magician "Lazlo", portrayed by Philip Madoc, to perform their trick of cutting her in half with a buzzsaw in front of two audience witnesses.
Except, "Matilda" is actually cut in half by the buzzsaw.
A few evenings later, "Frank Hawkins" is doing his high wire act, when a knife is thrown at him and he falls to his death upon the bayonets.
I leave my reader at this point to figure out the who and why, of the person who has gone " Berserk!"
Director Jim O'Connolly had written a British comedy and needed money to finance it. He went to American producer Herman Cohen and with slight changes to O'Connolly's screenplay, the movie was shot. In the United Kingdom the picture's title was "Crooks and Coronets", released in London, on April 2, 1969. It the United States the title was changed to "Sophie's Place", and released over a year later on November 4, 1970.
I'll let "The Monthly British Film Bulletin", for January 1, 1969, describe the picture:
Rather too obviously designed with one eye on the American market, where the eccentricities of the British aristocracy are presumably still considered a strong selling point, this mildly amusing comedy is so sedately paced that even its splendidly idiotic climax is not nearly as funny as it should have been. Once the Americans are established in the stately home (which in itself takes up about a third of the film), the script can find little for them to do but sit back and watch their zany dowager lady hostess at work – the sortie to the London gambling club, for instance, serves no purpose other than to show that the lady is a dab hand at cards. The finale, with the crooks repulsed by a concerted attack involving cross-bows, a lion, and Edith Evans at the controls of a vintage German plane, is in the best Ealing tradition and almost makes up for the periods of slack. But the rest, despite amiable performances from all concerned, is very lame.
This was the time of time of "The Spaghetti Western", and Italian actor and screenplay writer, Anthony Steffen, writing a screenplay as Antonio De Teffè, approach director Sergio Garrone, and made "Django Il Bastardo (Django the Bastard)", released on November 8, 1969, starring Steffen in the title role.
This is actually a horror movie within a Spaghetti Western. It's about a mysterious stranger who takes his revenge on former Confederate officer's that were responsible for the massacre of their own men. This motion picture was made 4-years-before Clint Eastwood's, "High Plains Drifter", which has a variation of this story. In the Eastwood story, the stranger comes to a town that stood by without helping their town Marshall that was bullwhipped to death. In both films, the stranger may not look like the original person, but is a ghost that cannot rest in peace until justice is done to those that did wrong.
A year after the Eastwood motion picture, Herman Cohen acquired the English language rights to Anthony Steffen's motion picture, dubbed it into English, but cut some of the bloody violence out, and renamed the picture, "The Stranger's Gundown".
The next motion picture produced by Herman Cohen, also starred Joan Crawford. The following is modified from my linked article, above, about the actress.
TROG released in the United Kingdom in July 1970
The motion picture was directed by Freddie Francis. Some of his previous movies were 1963's, "The Day of the Triffids", 1963's, "Paranoiac", 1964's, "The Evil of Frankenstein", 1965's, "Dr. Terror's House of Horrors", and 1968's, "Dracula Has Risen from the Grave".
It took two writers to come up with the story. They were:
Peter Bryan, 1959's, "The Hound of the Baskervilles", 1960's, "Brides of Dracula", and 1966's, "The Plague of the Zombies".
John Gilling, 1956's, "The Gamma People", 1964's, "The Gorgon", and 1967's, "The Mummy's Shroud".
Their story was turned into the screenplay by Aben Kandel, 1957's, "I Was a Teenage Werewolf" billed as Ralph Thornton, "I Was a Teenage Frankenstein", billed as Kenneth Langtry, also as Thornton, producer Herman Cohen's, 1958, "Blood of Dracula", and as himself, Cohen's, 1958's, "How to Make a Monster", and other features including Herman Cohen's overlooked, 1963, "The Black Zoo".
Joan Crawford portrayed "Dr. Brockton". Crawford proceeded this motion picture with two American television programs. She portrayed "Miss Claudia Menlo" in "Eyes", the pilot episode for Rod Sterling's, "Night Gallery", and "Stephanie White" in Season 8, Episode 16, "Nightmare", on the Western series, "The Virginian".
The following comes from both the producer and director of "Trog", and are their observations of the actress after 45-on-screen-years of acting:
In his 1992 interview with Herman Cohen, Tom Weaver for the magazine "Fangoria", unavailable to reference, quoted the producer on Joan Crawford:
Well, on Trog, her drinking was worse than it was when we were doing Berserk. I had to reprimand her a few times for drinking without asking. She had a huge frosted glass that said Pepsi Cola — but inside was 100-proof vodka! In fact, when she arrived to do Berserk as well as Trog, she arrived with four cases of 100-proof vodka, 'cause you can't get it in England'.
In his "Tales from the Script", "Hammer Horror Magazine #6:
Christopher Koetting, quotes director Freddie Francis as to why he made this motion picture:
I did it because of Joan Crawford, and poor Joan by this time was a very sad old lady. We had to have idiot cards all over the place because she couldn't remember her lines. It was the last thing she ever did and she shouldn’t have done it. Neither should I... She had no friends, and she kept writing sad letters to my wife and I until she died.
Michael Gough portrayed "Sam Murdock". Before he was known as "Alfred Pennyworth in the 1989 - 1995, "Batman" movies. Gough was seen in both Walt Disney's historical drama's, 1953's, "The Sword and the Rose", and "Rob Roy: The Highland Rogue". Along with "Hammer Film's", 1958, "Dracula aka: The Horror of Dracula"
The Very Basic Screenplay:
The motion picture was supposed to be a horror film and is publicized as such, BUT, according to the "British Film Institute's", "Monthly Film Bulletin", for January 1, 1971:
Aben Kandel's script has played down the horror to concentrate on the dramatic possibilities of the monster's humanization. The result is a kind of horror-comic L'Enfant Sauvage, with Joan Crawford's lady anthropologist patiently initiating her uncouth pupil in the ways of classical music (it doesn't like jazz), clockwork toys, and finally human speech.
Released on February 26, 1970, in France, 6-months before "TROG", was director Francois Truffant's, "L'Enfant Sauvage (Wild Child)".
Based upon a true story, "L'Enfant Savage" is set in 1798, the actual incident was possibly a year earlier. In the French forest, an approximately 9-years-old boy was found who could not walk, talk, read, or write. A doctor, Jean Marc Gaspard Itard sets out to change his condition and gave him the name of "Victor". As of this writing, the following link takes my reader to the original French motion picture with English subtitles:
Returning to "Trog":
Instead of a French forest, the opening setting is the countryside outside a small British town. Three British students are exploring a large cave in that area. They are "Malcolm Travers", portrayed by David Griffin, "Cliff", portrayed by John Hamill, and "Bill", portrayed by Geoffrey Case, the three are attacked by a described "ape-like-beast", and "Bill" is killed. "Malcolm" and "Cliff" report the incident to the local, but skeptical police, and renowned anthropologist "Dr. Brockton". The news media hear about the ape-man and set up their cameras at the cave entrance. Some of the reporters and cameramen enter the cave, but are chased out by the prehistoric man.
The police plan on shooting and killing the prehistoric caveman, but "Dr. Brockton" persuades them to let her try and capture him by using a tranquilizer gun.
Once "Dr. Brockton" is successful and she has the apeman in her laboratory in the town proper . "Dr. Brockton" discovers the apeman is actually a "Troglodyte". The believed missing link between modern and prehistoric man,"TROG", as he is nicknamed, is portrayed by Joe Cornelius.
Some of the locals are overwhelmed by the publicity "Trog" is causing their quiet community, especially a local business man named "Sam Murdock". "Murdock" believes the discovery of "Trog" will have a negative effect on business, his business. However, there is another problem in "Sam Murdock's" mind, a woman, "Dr. Brockton" as head of the scientific investigation of the "Missing Link".
What follows, as with the boy in "L'Enfant Savage", a test of the mental capacity of "Trog". Along with medical surgeries and equipment to give "Trog" a voice and the ability to remember his history.
"Dr. Brockton's" experiments are upheld by a municipal court and a decision to protect "Trog" is also given.
This upsets the town's people, but they will follow the court's decision. That is all but "Sam Murdock" who feels his business ventures are still being affected by that woman, "Dr. Brockton", and her experiments on the "Monster".
To prove "Trog" is the "Monster" that "Murdock" believes it is, he goes into "Dr. Brockton's" laboratory and frees the missing link from its cage.
"Trog" then proceeds to beat "Sam Murdock" to death, exits the laboratory and kills three other people.
"Trog" takes a young girl from a playground and heads for his cave. The two enter "Trog's" cave, as the police and army arrive there.
"Dr. Brockton" convinces the military to let her go into the cave and rescue the girl. She finds the girl and "Trog", who is initially aggressive towards the doctor, but does surrenders her to "Brockton", The moment "Dr. Brockton" and the girl emerge from the cave to safety , the army blows the charges they have planted, the cave is sealed and "Trog" is believed dead.
CRAZE premiered in London, on May 16, 1974 and the United States the following month
The screenplay was written by Herman Cohen and Aben Kandel based upon the 1967 novel, "Infernal Idol", by Henry Seymour
Freddie Francis was back as director. He had just directed 5-episodes of the British television adaptation of "The Adventures of Black Beauty", and followed this motion picture with "A Member of the Family" on the "CBS Children's Film Festival".
I could not locate any really detailed screenplay information other than Jack Palance portrayed "Neal Mottram", a psychotic antique dealer who sacrifices woman to an African idol, called "Chuku".
In his 2013 memoir, "Freddie Francis: The Straight Story from Moby Dick to Glory, a Memoir", the director wrote:
No sooner had I started it than I realised I was flogging a dead horse.
Adding, referring to Jack Palance, Hugh Griffith, Trevor Howard, and Edith Evans:
Jack lost interest in it almost straight away, Hugh and Trevor were both heavily on the bottle and dear Edith thought we were making a 'proper' film and therefore had all the time in the world.
Finishing my look at Herman Cohen's "Craze", I turn to the dependable "The Monthly Film Bulletin" for January 1, 1974:
Tepid, predictable British thriller in which Jack Palance and a team of comic policemen play cat and mouse with each other through an assortment of studio sets which belong to another era of film-making. ... The performances, however, are uniformly good; although, ironically, it is the large cast of distinguished supporting players who manage their aggressively American dialogue with aplomb, and Palance – struggling to make more of his lines than they will permit – who is at sea.
The last motion picture I could find produced by Herman Cohen was the Italian psycho motion picture, "Il gatto dagli oochi di gaigal (The Cat with the Jade Eyes)", released in Italy on August 6, 1977. That came to the United States as "Watch Me While I Kill".
On June 2, 2002, 76-years-old Herman Cohen passed away from throat cancer.
