Day Dream (1964)

Hakujitsumu is based on a 1926 short story by Junichiro Tanizaki that plays with the nature of reality.

An artist and a young woman are in a dentist’s waiting room and the man is too shy to even connect with her. In the same examining room, they’re both giving anesthetic as he imagines that she is being abused and tortured and even chased by a vampire. The uncut Dutch version even has a sexually explicit scene during which the woman is digitally attacked by the dentist.

A big budget example of a pinky violence movie, this film even dared to show female pubic hair, a major cultural crime in Japan. Most instances — even in the most hardcore of films — are digitally fogged or have a mosaic over them.

Director and writer Tetsuji Takechi was nearly 70 when this was made. He’d already filmed Day Dream once before in 1964, after starting his career in kabuki theater and having his own TV show, The Tetsuji Takechi Hour, during which he reinterpreted Japanese stage classics. His next film, 1965’s Black Snow, saw him arrested on indecency charges and fighting a public battle over censorship between the intellectuals of Japan and the country’s government. Takechi won the lawsuit, which opened the way for the pinky films of the 60s and 70s.

Black Snow may be more controversial for its themes than its sex: its protagonist is a young Japanese man whose mother serves the U.S. military at Yokota Air Base as a prostitute. He’s impotent unless making love with a loaded gun in his hand and before long, he’s killed a black soldier before being cut down by several Americans. The film is also fiercely nationalist with Americans — most pointedly the black man who is killed — shown to be nothing but sex-wild animals.

In the journal Eiga Geinjutsu, Takechi said, “The censors are getting tough about Black Snow. I admit there are many nude scenes in the film, but they are psychological nude scenes symbolizing the defencelessness of the Japanese people in the face of the American invasion. Prompted by the CIA and the U.S. Army they say my film is immoral. This is of course an old story that has been going on for centuries. When they suppressed Kabuki plays during the Edo period, forbidding women to act, because of prostitution, and young actors, because of homosexuality, they said it was to preserve public morals. In fact it was a matter of rank political suppression.”

The remake of Day Dream comes a full decade after newspapers would not advertise his movies and the director was only writing. That film is literally Japan’s first hardcore pornographic movie and it was a big budget movie played on big screens.

Yet while Westerners see his influence, in Japan, Takechi was an outsider in the mainstream and pinky world, so he’s forgotten. His right wing politics clash with the protest ethos within other pinky films, so all in all, he’s lost in many ways.

Female star Kyoko Aizome — who plays Chieko– would gain notoriety from this film and become a star in the worlds of feature dancing (being arrested for indecency for her on-stage behavior) and hard and soft AV (adult video) movies. According to an article on The Bloody Pit of Horror, she had her hymen surgically repaired so she could lose her virginity again on camera and also had her own King Kong vs. Godzilla moment when she starred in Traci Takes Tokyo opposite an underage Traci Lords.

As for the vampires, the dentist’s assistants (Saeda Kawaguchi and Yuri Yaio) have fangs and the dentist himself is Kwaidan actor Kei Sato, a mainstream talent appearing in a movie that is anything but. Even after Chieko runs over the dentist and decapitates him, he comes back as a traditional film vampire.

After the original movie was made, South Korean director Yu Hyun-mok remade it as Chunmong (Empty Dream) and was arrested because there was a rumored nude scene. There were also rumors that actress Park Su-jeong had been humiliated by appearing nude on the set. The truth was that she wore a body stocking. Supposedly, the Korean film, which was kept off screens until 2004, is a superior piece of surrealist art.

GIALLOPALOOZA PRIMER: Blood and Black Lace (1964)

EDITOR’S NOTE: Probably my favorite giallo is the one that’s considered amongst the first in the form. Mario Bava’s 6 donne per l’assassino AKA Blood and Black Lace was originally written about on our site on March 24, 2019. I’m super excited to see it at the Drive-In Super Monster-Rama Giallopalooza on September 17 and 18. Let’s raise a glass of J&B and get into it.

There’s no way to calculate the influence of Blood and Black Lace. It takes the giallo from where Bava started with The Girl Who Knew Too Much and adds what was missing: high fashion, shocking gore and plenty of sex. The results are dizzying; it’s as if Bava’s move from black and white to color has pushed his camera lens to the brink of insanity.

Isabella is an untouchably gorgeous model, pure perfection on human legs. But that doesn’t save her as she walks through the grounds of the fashion house and is brutally murdered by a killer in a white mask.

Police Inspector Sylvester takes the case and interviews Max Morlan (Cameron Mitchell!), who co-manages the salon with his recently widowed lover, the Countess Christina Como. Soon, our police hero discovers that the fashion house is a den of sin, what with all the corruption, sex, blackmail, drugs and abortions going on under its roof. Isabella was murdered because she had kept a diary of all the infractions against God that happened inside these four walls.

Nicole finds the diary and tells the police she will deliver it, but it’s stolen by Peggy. As she arrives at the antique store her boyfriend Frank owns, the killer appears and kills her with a spiked glove to the face. The killing is shocking. Brutal. And definitely the forerunner to the slasher genre.

Even after the cops arrest everyone in the fashion house, the murders keep on piling up. Peggy claims that she burned the diary, so the killer burns her face until she dies. Greta is smothered to death. And Tilde is killed in the bathtub, then her wrists are slit open, spraying red into the water and marking her as a suicide.

So who is it? Come on. You’re going to have to watch it for yourself.

The success of Black Sunday and Black Sabbath had given Bava the opportunity to do anything he wanted. His producers thought that this movie would be a krimi film along the lines of an Edgar Wallace adaption. Instead, Bava gave more importance to the killings than the detective work, emphasizing sex, violence and horror more than any film in this form had quite before.

Blood and Black Lace was a failure in Italy and only a minor success in West Germany, the home of Edgar Wallace. And in America, AIP passed on the film due to its combination of sex and brutality. Instead, it was released by the Woolner Brothers with a new animated opening.

Today, Blood and Black Lace is seen as a forerunner of body count murder movies and the excesses of later giallo films. To me, it’s a classic film, filled with Bava’s camera wizardry and love of color. It is everything perfect about movies.

Drive-In Super Monster-Rama is presenting “Giallopalooza”, two big nights of classic, fully restored giallo thrillers from such maestros as Dario Argento, Mario Bava, Lucio Fulci and Sergio Martino!

On Friday, September 17, the line-up will be What Have You Done to Solange?, Torso, A Lizard In a Woman’s Skin and The Cat O’Nine Tails. Saturday, September 18 they will present Deep Red, The Bird with the Crystal Plumage, Blood and Black Lace and Your Vice Is a Locked Room and Only I Have the Key.

Admission is $10 per person each night (children 12 and under FREE with adult guardian). Camping on the premises is available each night for an additional $10 a person, and that includes breakfast.

Advance tickets are available online at the Riverside Drive In’s webpage.

KINO LORBER BLU RAY RELEASE: The Tomb of Ligeia (1964)

EDITOR’S NOTE: We recently shared this article about The Tomb of Ligeia on July 7, 2021. We’re sharing it again as Kino Lorber is re-releasing this film on blu ray, complete with new audio commentary by film historian Tim Lucas, as well as an audio commentary by producer/director Roger Corman and another by actress Elizabeth Shepherd, plus the Joe Dante Trailers from Hell episode about this movie, the theatrical trailer and a limited edition slipcase. You can order it directly from Kino Lorber.

Based on Edgar Allan Poe’s “Ligeia” and adapted by Robert Towne, this is the last of the Roger Corman Poe films. Because Poe’s story was so short, Towne expanded on the themes of mesmerism and necrophilia. The result? “Literally being controlled by someone who was dead, which is gruesome notion but perfectly consistent with Poe.” said Towne to John Brady in The Craft of the Screenwriter.

In that same book, Towne confessed he thought that “…it would have been better if it had been with a man who didn’t look like a necrophiliac to begin with. I love Vincent. He’s very sweet. But, going in, you suspect that Vincent could bang cats, chickens, girls, dogs, everything. You just feel that necrophilia might be one of his Basic Things.”

Corman agreed, as he was thinking Richard Chamberlain would be perfect. Yet American-International Pictures wanted Price and Corman had to break the news to Towne.

The film starts with a casket on display with a young woman’s face visible through a window in the pine box. A black cat jumps on the coffin and takes her soul, which belonged to  Ligeia, the wife of Verden Fell (Vincent Price). He’s troubled by her death, as she refused to die and was blasphemous about God to the end of her life.

Despite his strange appearance — he must wear special glasses as he is allergic to sunlight* — he meets another woman at the grave, Rowena (Elizabeth Shepherd, The Kidnapping of the PresidentThe Omen II). They fall instantly in love and he moves her into his home which is haunted by the spirit of his wife in the form of that black cat. By the end of the film, we learn that he’s been mesmerized by his dead wife and can only love her, yet he battles the cat that has her soul until her tomb burns around them.

As for his new wife, well, she goes back to the man she left at the start of the movie and has a happy future, which is pretty sad for poor Vincent Price.

*Poe invented being goth.

The Comedy of Terrors (1964)

American-International Pictures follow up to The Raven, this movie reunites Vincent Price, Peter Lorre and Boris Karloff. Adding to the trio is Basil Rathbone, giving this film an astounding cast. They’re all working from a script by Richard Matheson and direction by Jacques Tourneur, who for my money made some of the greatest horror movies ever like Night of the DemonThe Leopard Man and Cat People.

Price is Waldo Trumbull, a funeral home owner, a business that he stole from his partner Amos Hinchley (Karloff) after marrying his daughter Amaryllis (Joyce Jameson). They only have one coffin, which saves them money, as Felix Gillie (Lorre) dumps the bodies when he isn’t setting up the death of wealthy clients.

Rathbone plays John F. Black, Esq., the landlord that tries to evict Trumbull but keeps dying and coming back to life, giving soliloquies and dying again. The cat, who keeps waking him up due to allergies, is played by Orangey the cat, who also menaced The Incredible Shrinking Man.

While a fun movie, this one could have really used Corman’s touch. That said I’m a big fan of Tourneur. It wasn’t a big success, but it’s still worth a watch. You might even spot the hearse coach that now is part of Disneyland’s Haunted Mansion.

This new Kino Lorber release has commentary by film historian Tim Lucas, a feature on Matheson, a trailer and a great looking slipcase. You can get it directly from Kino Lorber.

Mary Poppins (1964)

Starting with Johnny Tremain, Robert Stevenson made a career of directing some of the best movies that DIsney made, such as Darby O’Gill and the Little PeopleThe Absent-Minded ProfessorThat Darn Cat!Bedknobs and Broomsticks and many more. Of all these movies, Mary Poppins is the best considered.

Beyond being a commercial success — It was the highest-grossing film of 1964 — Mary Poppins received a total of 13 Academy Awards nominations and won five: Best Actress for Julie Andrews, Best Film Editing, Best Original Music Score, Best Visual Effects and Best Original Song for “Chim Chim Cher-ee.” This would be the only time in Walt Disney’s lifetime that he’d see that kind of recognition for one of his studio’s films.

Disney first attempted to purchase the film rights to Mary Poppins from P. L. Travers in 1938. Travers refused, as she didn’t think that a film version would work. For two decades, Disney tried to make the movie until Travers agreed in 1961 with the condition that she receive script approval, finally being listed as the consultant to the film.

She wasn’t a fan of the film, feeling that it cut down too many of the rougher aspects of Poppins, didn’t like the music and truly disliked the animation. The result? She ruled out any further adaptations of the later Mary Poppins novels.

Travers was not invited to the premiere but managed to get an invitation from a Disney executive. At  the after-party, she walked up to Disney and loudly informed him that the animated sequence had to be removed. Disney responded, “Pamela, the ship has sailed” and walked away.

While the film is really about the redemption of George Banks as Poppins brings his family together, as I saw this as a kid at the Super 51 drive-in, it was really a chance to get a longer episode of The Dick Van Dyke Show, one of my childhood favorites.

It also had to be some kind of victory for Julie Andrews, who made her feature film acting debut after a successful stage career. She had just dealt with Jack L. Warner, who had replaced her with Audrey Hepburn for the role of Eliza Doolittle in his screen adaptation of My Fair Lady, despite her originated the role on Broadway. It’s pretty amazing to do that — Disney even held up production so she could have her first child — and win the Best Actress Oscar.

If you ever want to see the lasting legacy of this film today, take a ride on the Walt Disney World Monorail System, which this movie paid for. The safety system on all of the train cars is called the MAPO (MAry POppins) safety system and all Walt Disney World Railroad steam locomotives are fitted with a boiler safety device marked MAPO.

BRUNO MATTEI WEEK: Spartacus and the Ten Gladiators (1964)

I have no idea who the John Heston this movie’s poster promises, but I do know that this peplum film was obviously made in the wake of another movie with a very similar title. It’s also the third film in the series of Dieci Gladiatori films that began with Gianfranco Parolini’s 1963 effort The Ten Gladiators and continued with Nick Nostro’s Triumph of the Ten Gladiators.

Nostro would direct this as well, working from a script that he co-wrote with Alfonso Balcázar (A Pistol for Ringo) and Sergio Sollima (The Big Gundown).

The film begins with Rocca (Dan Vadis, who was a member of Mae West’s Muscleman Revue before acting in sword and sandal films) and his nine gladiators performing for the emperor. However, they are followed by the gladiators of Thrace, who are forced to kill one another, leaving only one man standing. The last two are a father and a son, which Spartacus (Giovanni Di Benedetto, using the John Heston name like a little sneak!) stops the madness and lobs a sword at the emperor’s balcony box.

Rocca’s gladiators defend Spartacus against all odds and also wildly shifting narrative tones. At some moments, wacky music plays as the men battle soldiers and at other moments, there is a discussion of dogs shredding people apart. Sometimes wacky, sometimes horrifying, that’s Spartacus and the Ten Gladiators, which totally features its own “I am Spartacus” scene.

Also, Helga Liné shows up as Daliah. You may — you totally should — remember her from Horror ExpressSpecial Mission Lady Chaplin, The Vampires’ Night OrgySo Sweet…So PeverseHorror Rises from the TombNightmare Castle and so many more films.

Who put all this together, throwing the right edit together so that this film made some semblance of narrative sense? Bruno Mattei, in one of his first jobs as an editor. He’d continue in that role for the early part of his career, as well as doing a similar job on nearly all of his own films.

You can watch this on Tubi.

Attack from Space (1964)

There are nine Super Giant films and all of them were brought to the U.S. by Medallion Films, who turned them into four movies. This story would be The Artificial Satellite and the Destruction of Humanity and The Spaceship and the Clash of the Artificial Satellite combined to make one longer film. So basically, this would be the fifth and sixth parts of the story. If you want to get caught up, you’ll need to check out Atomic Rulers of the World and Invaders from Space. When you finish this one, you can get the rest of the story in Evil Brain from Outer Space.

Starman is a human-like being created from the strongest steel by the Peace Council of the Emerald Planet. He’s been sent to our planet to protect us from the Sapphire Galaxy, who are blowing up the Himalayans. To make their plan move quicker, they kidnap Dr. Yamanaka and his family and force him to use his spaceship — yes, he just so happens to have a spaceship — to decimate the Earth.

Strangely enough, this movie has a death star and a weapon that destroys planets. I mean, Star Wars would never steal anything from a Japanese movie, right?

You can download this from the Internet Archive.

Robinson Crusoe on Mars (1964)

What a goofy movie.

Yet, what fun! Byron Haskins, who also made The War of the Worlds, was obviously having the time of his life and had a budget and crew talented enough to take the Daniel Defoe’s classic novel and transport it to space.

Commander Christopher “Kit” Draper, USN (Paul Mantee, The Manitou) and Colonel Dan McReady, USAF (Adam West!) reach the Marsin their spaceship and within moments, the future Batman is dead and Kit is lost on the Red Planet.

Speaking of Batman, Victor Lundin, who plays the alien slave that Kit names Friday, was the Octopus on that show. He also played the first Klingon the crew of the Enterprise ever met on Star Trek. When Lundin did science fiction conventions, he would often sing, and he even wrote a song about this movie called “Robinson Crusoe on Mars.”  Thanks to Yeah, Flik! for posting this.

There’s also a monkey named Mona along for the trip.

A sequel Robinson Crusoe in the Invisible Galaxy was planned and the actors thought that this movie would make their careers. It did not, as Paramount barely distributed the movie and the reviews were not kind.

Even stranger, screenwriter Ib Melchior and Victor Lundin collaborated on a script called Columbus of the Stars after this movie. They showed it to Paramount and soon enough, Star Trek came out. That said, this story feels very urban legend, as Desilu produced the original series.

There’s also a scene where the monkey is clearly taking a dump, so keep your eyes open for that!

Lee Majors Week: Strait-Jacket (1964)

Editor’s Note: This review originally ran on January 21, 2019. We are rerunning it for our “Lee Majors Week” of film reviews.

After the success of What Ever Happened to Baby Jane?, Hollywood suddenly had roles for older actresses, as part of psycho-biddy films. And no one was more in demand than Joan Crawford, who agreed to be in this William Castle film with the following demands: script and cast approval, a $50,000 salary and 15 percent of the profits.

Lucy Harbin (Joan!) has spent two decades in a mental hospital after the axe murders of her philandering husband (Lee Majors!) and his mistress. After she gets out, she moves in with his brother Bill (Leif Ericson, who is also in I Saw What You Did with Crawford, along with his wife Emily and her daughter, Carol (Diane Baker, who Crawford hired to replace Anne Helm).

Ironically, Crawford herself was a replacement for Joan Blondell, who was injured before filming and couldn’t make the movie.

Carol seems happy and unharmed by the fact that she watched her mother sliced up her father and his lover with an axe. In fact, she does everything she can to keep her mother from being depressed, changing her look back to how she appeared when she was young.

Soon enough, Joan is acting the hell out of this movie, a new series of axe murders are happening and George Kennedy shows up looking young and perverted. Oh yeah — you can also totally play a drinking game by looking for every appearance of Pepsi in this movie. Even crazier, the character of Dr. Anderson was played by Mitchell Cox, who was not an actor, but rather the Vice President of the Pepsi-Cola Company. Joan did this one all on her own, without even asking Castle. Oh Joan!

Even though William Castle had the best gimmick of all — an A-list star in a B-movie horror flick — he still gave audience members little cardboard axes for coming to see the movie. And at several theaters, he brought Joan along, coming out to greet her public.

My favorite thing in this entire movie is that the Columbia logo’s torch-bearing woman is decapitated at the end of the movie!

Look — I’m not going to be unbiased when it comes to Joan Crawford movies. This one is ridiculous — a near giallo with Joan acting decades younger than she should — but that makes it so much greater than it should be.

And as for Mr. Majors: He booked this first role as Joan’s philandering husband — although uncredited — at the age 25. Soon after, he booked a 1965 episode of Gunsmoke and an episode of The Alfred Hitchcock Hour, “The Monkey’s Paw.” Then he beat out 400 other actors — including a young Burt Reynolds on the shortlist — as Heath Barkley in a new ABC western series known as the The Big Valley.

You can get Strait-Jacket from Shout! Factory or as part of the Psycho-Biddy Double Feature with Berserk! from Mill Creek Entertainment.

SON OF KAIJU DAY MARATHON: Mothra vs. Godzilla (1964)

With the box office success of King Kong vs. Godzilla and Mothra, Toho chose to send Godzilla against the butterfly in a movie that was meant for children instead of adults. It’s also the last movie — until the Heisei era — that Godzilla would be against humanity.

As a typhoon leaves behind great damage, a bluish-gray object has been left behind as well as a giant egg which is taken by Kumayama, the owner entrepreneur of Happy Enterprises. He decides that science will have nothing to do with the egg. It’s time to make money off it.

That’s when the twin Shobijin arrive and explain that the egg belongs to Mothra and if it hatches, Mothra’s larva child will destroy Tokyo as it looks for food. The Japanese government begs them to send Mothra to stop Godzilla, who has come back for the strange object left behind, one that is emitting radiation. Despite all the outside world has done to their island and even though Mothra is in great pain and dying of old age, they decide that they must help.

While Godzilla does destroy Mothra with his atomic breath, her twin children arise in their larva form and spray the King of the Monsters repeatedly with their silk and allow Godzilla to be captured.

Henry G. Saperstein acquired the American theatrical and TV rights. He planned on the name Godzilla vs the Giant Moth, but American-International Pictures bought the movie and released it as Godzilla vs. The Thing, censoring Mothra from the poster to build audience excitement for who the big green lizard would fight. After so many of their films being released in America, Toho shot footage specifically for export, such as a scene where U.S. troops help the Japanese fight the monsters.

When everyone arrives on Infant Island, the skeleton of a turtle can be seen in the background. This character, known as the Mystery Bones of Infant Island, is a living kaiju that was inspired by Mondo Cane.