UNSUNG HORRORS HORROR GIVES BACK 2023: Chained for Life (1952)

Each October, the Unsung Horrors podcast does a month of themed movies. This year they will once again be setting up a fundraiser to benefit Best Friends, which is working to save the lives of cats and dogs all across America, giving pets second chances and happy homes.

Today’s theme: Creepy twins

Daisy and Violet Hilton were born joined at the hips and buttocks, sharing the same blood circulation but no major organs. Their mother was a barmaid and when the owner of her bar, Mary Hilton, met them, she bought them outright. She controlled them with physical abuse and ran their careers until she died and their contracts were given to Mary’s daughter Edith Meyers and her husband Meyer, a former balloon salesman. In their San Antonio mansion, they beat the sisters into learning how to play jazz.

In the early 30s, they legally emancipated themselves with the help of Harry Houdini and went into vaudeville and then burlesque, even doing some limited exotic dancing that audiences did not react well about. Violet dated musician Maurice Lambert and despite applying in 21 states for a marriage license, no one would marry them. Around this time, they also appeared in the movie Freaks.

A few years later, Violet married actor James Moore — who was gay — as a publicity stunt. Daisy was also pregnant and gave her child up for adoption. She was also married to a dancer named Buddy Sawyer — also gay — for ten days.

This movie was made in 1952 — directed by Harry L. Fraser — and told the story of their lives. Well, except for the fact that Violet never shot a man that was in love with Daisy. It’s kind of a not true story, because they use the name Dorothy and Vivian Hamilton.

Their manager sets them up with a gun shooting expert named Andre Pariseau (Mario Laval) who is supposed to date Dorothy, who falls in love with him. The problem comes in when Andre still has a lover, Renee (Patricia Wright).

Yet because their marriage would be bigamy, they can’t get married until they meet a blind clergyman. Andre tells her on their wedding night that he can’t live this kind of life, but Vivian knows that he’s going back to the other way, so she shoots him dead. A judge has to decide what to do, because if he condemns Vivian to death, he’ll kill an innocent woman. The movie then asks you, the viewer, what you would decide.

The Hiltons had a hot dog stand — The Hilton Sisters Snack Bar — and their last public appearance was in 1961 at a drive-in double feature of Freaks and Chained for Life in Charlotte, North Carolina. Their tour manager had taken their money and left, stranding them. They applied to work at a Park’n’Shop grocery store and only asked for one salary. The owner, Charles Reid, was a religious man and hired them both and built a special desk for them so that customers couldn’t tell they were conjoined twins. The shop owner’s church also provided them with a small home and they devoted themselves to work and that church for the rest of the decade.

In early 1969, Daisy caught a horrible case of the flu and died. Four days later, Violet died as well. She never called for help, realizing that she couldn’t survive without her sister.

At their funeral, Reverend Jon Sills said, “Daisy and Violet Hilton were in show business for all but the last half dozen years of their life. In the end, though, they were cast aside by the glittery and glamorous world they had been part of for so long. In the end, it was only ordinary people who showed they cared about them.”

You can watch this on Tubi.

RESOURCES:

Memories of San Antonio. Violet and Daisy Hilton, San Antonio’s conjoined twins. Their uplifting story facing the odds and adversity.

 

CHILLER THEATER MONTH: The Astounding She-Monster (1958)

EDITOR’S NOTE: The Astounding She-Monster was on Chiller Theater on Saturday, November 7, 1964 at 1 a.m. and December 3, 1966.

Released as part of a double feature with Roger Corman’s The Saga of the Viking Women and Their Voyage to the Waters of the Great Sea Serpent, American-International Pictures’ The Astonishing She-Monster is all about what happens when a gang kidnaps a rich heiress and just happens to run into an alien woman who emerges from a meteorite. You know, everyday stuff.

Nat Burdell (Kenne Duncan, the “Meanest Man In the Movies”), Esther Malone (Jeanne Tatum, The Ghost of Dragstrip Hollow) and Brad Conley (Ewing Miles Brown, who produced Blood From Dracula’s Castle) kidnap wealthy society girl Margaret Chaffee (Marilyn Harvey, who appears as Dr. Sapirstein’s receptionist in Rosemary’s Baby) and hide out to wait for the ransom to come rolling in.

Meanwhile, a geologist named Dick Cutler (Robert Clarke, The Hideous Sun Demon) watches a meteor land in the forest. He misses the fact that a glowing blonde in a skintight leotard — that ripped during filming — which is why she backs out of every room instead of turning around — has emerged and that she can kill with just a touch.

So, in an amazing coincidence, the gangsters end up in Cutler’s cabin. One of them chases after the alien woman, who quickly dispatches him with radiation before taking out the other gangsters one by one.

Only Cutler and Chafee remain, but he’s one of those 1950s scientists that can come up with a solution no matter what. He someone deduces that the alien’s body is made up of radium and platinum, which he uses to come up with the perfect acid solution that instantly disintegrates her.

The jokes on him, as she was holding an invitation from the Master of the Council of Planets of the Galaxy for Earth to join the Council. Only now do they realize that she only killed in self-defense and their actions may have doomed our world.

Ronnie Ashcroft directed this, but he had help. Yes, he brought along Edward D. Wood, Jr. who wanted to title this movie Naked Invader. While it was originally planned as a $50,000 production with a seven-day shooting schedule, the final product only cost $18,000 to make and was sold to AIP for $60,000. Most of the actors were paid $500 a week and several actually made decent residuals as it played for at least four years in theaters and drive-ins. So it’s not a great movie, but it is a happy story, right?

This movie promises you an alien femme fatale, but really only delivers a mute alien in high heels and a skintight outfit killing men. Actually, I’m all for that, when you put it that way.

Thanks to Andrew Chamen for catching that I had the title wrong.

You can watch this on Tubi.

CHILLER THEATER MONTH: Frankenstein 1970 (1958)

EDITOR’S NOTE: Frankenstein 1970 was first on Chiller Theater on Saturday, October 5, 1963 at 3:00 p.m. It also aired on Sunday, July 12, 1964 and Saturday, May 4, 1968.

Howard W. Koch produced the Academy Awards show on eight occasions. He also made this movie, Jungle Heat and The Girl in Black Stockings with Mamie Van Doren. And along with Telly Savalas, he owned a horse named Telly’s Pop that won some big races.

Things have come full circle, I guess, for Boris Karloff as now instead of playing Frankenstein’s Monster, he’s Baron Victor von Frankenstein. After being abused by the Nazis for not aiding them during World War II. Now he’s back to being a scientist but in need of money, he allows a crew to make a horror movie at his family’s castle.

I have no idea how much money he’s getting paid, because it’s enough to buy an atomic reactor and make a clone of himself that starts killing members of the film, his butler and then absorbs himself.

Mike Lane, who plays the monster, would also play the role in The Monkees and on the TV series Monster Squad.

With a set borrowed from Too MuchToo Soon — the autobiography of Diana Barrymore that has Vampira in it — you can spot the Maltese Falcon as a decoration.

CHILLER THEATER MONTH: Black Sunday (1960)

EDITOR’S NOTE: Black Sunday was on Chiller Theater on Saturday, October 16, 1965 at 1:20 p.m. It also was on the show on December 2, 1967; August 30, 1969; June 20, 1970 and July 10, 1971.

This was Bava’s directorial debut — although he had already directed several scenes without credit in other films. By 1960’s standards, this is a pretty gory film, leading to it being banned in the UK and chopped up by its US distributor American International Pictures.

In the 1600’s, the witch Asa Vajda (Barbara Steele, creating her legacy as the horror female supreme) and her lover Javuto are put to death by her brother. Before she is burned at the stake and has a metal mask hammered to her face, she curses their entire family.

Several centuries later, Dr. Thomas Kruvajan and his assistant, Dr. Andre Gorobec (John Richardson, Frankenstein ’80) ae traveling to a medical conference when their carriage breaks down. Of course, they’re in a horror movie, so they wander into an ancient crypt and release Asa from her death mask and getting blood all over her face.

That’s when they meet her descendent Katia (also Steele), whose family lives in the haunted castle that of the Vajdas. Gorobec instantly falls for her and really, can you blame him?

All hell literally breaks loose, with Asa and Javuto coming back from the dead, possessing Dr. Kruvajan and concocting a plan to make Asa immortal by stealing Katia’s youth. Can good triumph against evil? Can you kill a vampire by stabbing wood into its eye socket? Which one is hotter, good or evil Barbara Steele?

A note from reader Edgar Soberon Torchia: “The blood from Dr. Kruvajan’s hand does not get all over Asa’s face. While fighting a bat he breaks the glass covering her face in the tomb. The blood in a piece of glass elegantly falls drop by drop into the empty cavity of Asa’s right eye.”

Thanks for setting us straight!

A lover of Russian fantasy and horror, Bava intended this film to be an adaption of Nikolai Gogol’s 1835 horror story “Viy.” However, the resulting script owes more to Universal Studios-style gothic horror. AIP cut or shortened the branding scene, blood spraying from the mask after it was hammered into Asa’s face, the eyeball impaling and the flesh burning off Vajda’s head in the fireplace. And in the Italian version, Asa and Javutich are brother and sister in an incestuous relationship.

Black Sunday has left quite an impression on fans and filmmakers alike. Francis Ford Coppola’s Bram Stoker’s Dracula contains several shot-for-shot homages, as does Tim Burton’s Sleepy Hollow. And Richard Donner based the cemetery scene in The Omen on the moment when Barbara Steele appears with her hounds.

For a director who is so well known for his work in color, Bava has just as much skill in black and white. The sets were actually created in monochrome, with no color, to add to the dark mood.

My favorite scene in the film is when Bava creates a split screen effect where Steele’s two roles come together, as Asa intones, “You did not know that you were born for this moment. You did not know that your life had been consecrated to me by Satan. But you sensed it, didn’t you? You sensed it… That’s why my portrait was such a temptation to you, while frightened you. You felt like your life and your body were mine. You felt like me because you were destined to become me… a useless body without life.”

CHILLER THEATER MONTH: The Spectre of Edgar Allan Poe (1974)

EDITOR’S NOTE: The Spectre of Edgar Allan Poe was first on Chiller Theater on Saturday, October 22, 1977 at 11:30 p.m. It also aired on July 3, 1982.

Edgar Allan Poe’s (Robert Walker Jr., Evil TownHex) love Lenore (Mary Grover) was nearly buried alive after a coma made it appear as if she were dead and now, she’s insane. Poe’s friend Dr. Forrest (Tom Drake) advises him that Dr. Grimaldi (Cesar Romero) will take proper care of her, but then Poe starts to worry. That place should be strange but it seems truly odd.

There’s someone who thinks that they are a werewold, an axe murderer and a watery tomb filled with snakes that you just know that Poe will get stuck in. Plus, you also get Dennis Fimple and Carol Ohmart.

It all looks as cheap as possible and that’s why I love it, as Mohy Quandour was the director, writer and producer and tried to do all he could with the limited cash he had on hand. He also made the movie Yanco, which is one of the 95 films on the Church of Satan film list.

I hope that lots of schoolkids who watched this movie tried to use it for their book reports.

You can watch this on YouTube.

THE IMPORTANT CINEMA CLUB’S SUPER SCARY MOVIE CHALLENGE DAY 16: Man’s Best Friend (1993)

October 16: A Horror Film That Involves a Killer House Pet

John Lafia also made The Blue Iguana and co-wrote Child’s Play and directed the sequel. He also made The Rats, the American made-for-TV movie adaptation of the books of James Herbert.

It starts with the death of Judy Sanders (Robin Frates), an employee of the EMAX genetic research facility. She has been talking to television personality and animal activist Lori Tanner (Ally Sheedy) about the abuse she’s seen at her lab. Before Lori can get to their meeting, an animal under the control of the company’s owner, Dr. Jarret (Lance Henriksen). Nonetheless, Lori and her camerawoman Annie (Trula M. Marcus) break in and free one of the dogs, Max.

Max becomes Lori’s protector — he goes a bit far, chasing down and killing a mugger — and the nemesis of her boyfriend Perry (Fredric Lehne).

Jarret tells the cops that Max is a genetically altered dog that has the DNA of big cats, snakes, chameleons and birds of prey. He’s also given to berserk freakouts, which means that he needs to be on drugs that he hasn’t received in some time. Max is, however, super rad. He does all sorts of insane things like bite through Perry’s brake lines, kill a mailman, eat a parakeet and make sweet love to a collie, knocking her up with the puppy that Lori will adopt when this is all over.

He also gets sold out because Perry wants her to get rid of him. She finds who she thinks is a kind junkyard guy (William Sanderson) but that weirdo is soon hitting Max with shovels and burning his face with a blowtorch. Max does what you hope he does. He decimates that guy and then comes back home to a new dog taking his place. He responds by pissing acidic urine all over Perry.

Max forgives Lori and comes to rescue her from Jarret, giving up his life in the process. I hate this. I am all for Max and none of the humans in this movie. He’s a good boy all the way to the end, even if he does eat a cat.

2023 Scarecrow Psychotronic Challenge Day 16: The Chain Reaction (1980)

16. OZPLOITATION: Maximize your wander with some thunder from down yonder.

Director and writer Ian Barry made this Australian film that has a lot of the cast and crew from Mad Max, including Mel Gibson appearing as a blink and you miss him mechanic* and George Miller serving as associate producer and filming the car chase scenes. They didn’t hide that this movie had ties to that film as the tagline was “Mad Max meets The China Syndrome.”

An earthquake causes a dangerous leak at a nuclear waste plant known as WALDO (Western Atomic Longterm Dumping Organisation). Heinrich Schmidt (Ross Thompson), an engineer near-death after the incident, is trying to warn people that the groundwater will be contaminated. He’s rescued by a married couple on vacation, Larry (Steve Bisley, Jim Goose from Mad Max) and Carmel Stilson (Arna-Maria Winchester).

Toss in an electronic score by Andrew Thomas Wilson and bad guy costumes that look like they came from The Crazies and you have an Australian film perfect for the drive-in.

*Hugh Keays-Byrne, Roger Ward, Tim Burns and David Bracks are also in this.

 

UNSUNG HORRORS HORROR GIVES BACK 2023: Rome Against Rome (1964)

Each October, the Unsung Horrors podcast does a month of themed movies. This year they will once again be setting up a fundraiser to benefit Best Friends, which is working to save the lives of cats and dogs all across America, giving pets second chances and happy homes.

Today’s theme: The undead

Also known as War of the Zombies, Rome Against Rome was the second to last film from the Galatea production company (some of their other films include Black SundayBlack SabbathMill of the Stone Women and Ghosts of Rome). It was directed by Giuseppe Vari, who used the name Joseph Warren, and also made The Last KillerShoot the Living and Pray for the DeadWho Killed the Prosecutor and Why?, Sister Emanuelle and Urban Warriors. Its story came from Ferruccio De Martino (who usually was a production manager) and Massimo De Rita (Violent City, The Valachi PapersStreet Law) with a script from Piero Pierotti (who directed Hercules Against Rome and Marco Polo) and Marcello Sartarelli.

In a remote part of the Roman Empire, cult leader Aderbad (John Drew Barrymore, Drew’s father) is working with the governor to create their own land using the corpses of Roman soldiers brought back from the dead. Centurion Gaius (Ettore Manni) is sent to protect the interests of the senate.

Most of the production money probably went toward making Aderbad’s secret rooms look like something out of Bava, because the actual fight scenes are taken from Hannibal. Susy Anderson (Black SabbathThor and the Amazon Women) and Ida Galli (The PsychicArabella: Black AngelThe Sweet Body of DeborahThe Whip and the Body) are also on hand.

American-International Pictures played this movie as a double feature with Senkichi Taniguchi’s Samurai Pirate, which they named The Lost World of Sinbad. When it was time for Rome Against Rome to air on TV, it was renamed the completely incredible title Night Star: Goddess of Electra.

I wish that there was more to recommend this movie than just as a curiosity. Peplum was giving way to the western, so anything was being tried at this point. According to Mondo Esoterica, two other horror and sandal hybrids are Goliath and the Vampires and, of course, Hercules in the Haunted World.

CHILLER THEATER MONTH: Kronos (1957)

EDITOR’S NOTE: Kronos was on Chiller Theater on Sunday, September 29, 1963 at 11:10 p.m. It also aired on April 18 and August 16, 1964; December 30, 1972; September 28, 1974 and November 1, 1975.

A glowing bit of energy is launched from a UAP from deep space. The energy lands on our planet and takes over the brain of a man somewhere in the Southwest and sends him to a research facility where scientists have been tracking the object.

It soon takes over Dr. Hubbell Eliot as astrophysicist Dr. Leslie Gaskell and Dr. Arnold Culver track the UAP. They fire three nuclear missiles at it, because that’s what humans do, and it survives the attack. They leave for Mexico, along with Gaskell’s girlfriend Vera Hunter to see Kronos, an energy accumulator that is going to take everything we have and bring it back to its planet. That’s why when the U.S. military drops an atomic bomb on it, Kronos gets even bigger.

Dr. Eliot breaks out of alien control and kills himself to keep them from learning more from him. At the last minute, Gaskell reverses the polarity and drops nuclear ions on the robot and saves the day.

Director Kurt Neumann also was the man who made She Devil, the movie that this played double features with. Kronos was written by Lawrence L. Goldman and Irving Block. Block was an effects man who also wrote the story for Forbidden Planet.

It’s also the first movie for Richard Harrison. The same man who Godfrey Ho would use in movie after movie, often the same footage, until it seems like he was in twenty or more ninja films.

AIMEE: The Visitor (2023)

ABOUT THE AUTHOR: Joseph Perry writes for the film websites Gruesome Magazine, The Scariest Things, Horror Fuel and Diabolique Magazine; for the film magazines Phantom of the Movies’ VideoScope and Drive-In Asylum; and for the pop culture websites When It Was Cool and Uphill Both Ways. He is also one of the hosts of When It Was Cool’s exclusive Uphill Both Ways podcast and can occasionally be heard as a cohost on Gruesome Magazine’s Decades of Horror: The Classic Era podcast.

The press information for director Charles Band’s AIMEE: The Visitor proclaims that “This is the first film in history to feature a character not portrayed by an actor or designed using digital special effects, but entirely created using modern A.I. technology.” With the Hollywood strikes occurring partially because of studios considering replacing writers and actors with AI, the film drops at an interesting time. 

The core of this cautionary fable is nothing new: computer technology becomes self-aware and attempts to destroy the life of the person(s) using it. In this case, Scott Keyes (Dallas Schaefer) is a supposedly high-end computer programmer who makes a lot of money from corporate espionage, yet he is holed up in the type of questionable apartment for which cinematic hackers are known and stays inside watching porn and eating fast food when not doing his shady work. He rents out space in the building to brother-and-sister hacker duo Hunter (Felix Merback) and Gazelle (Faith West), who help him in his nefarious deeds. And for some reason, Gazelle is crushed out on the misanthropic Scott.

Enter AIMEE, a beautiful (of course) AI creation who can help Scott however he wishes — professionally or personally, which leads to a fantasy three-way sex scene and a jealous rivalry between AIMEE and Gazelle. All manner of deadly hijinks ensue, with FBI agents and a pet dog involved in the mix along with our main three human protagonists. 

As a Full Moon Feature, the special effects are on the low budget side of things, and the AIMEE effects should relieve most human actors of any worries about AI taking their places soon. The performances are fine, with the main cast members not treading into scenery-chewing territory. 

If you’re in the mood for a The Twilight Zone, The Outer Limits, or Black Mirror style of “beware technology” science fiction tale combined with erotic thriller elements, AIMEE: The Visitor should have what you crave.  

AIMEE: The Visitor, from Full Moon Features, is currently available on https://www.fullmoonfeatures.com/