| |
JULY 20002
NEW! NEW! NEW! SPECIAL EDITION!
The B Monster presents a tribute to the recently departed
B-movie maverick, Herman Cohen: "Cohen: My Way!"
PROFILE: In this never-before-published interview, Cohen
discusses his early years with Jack Broder's Realart Pictures,
working with Curt Siodmak, Barbara Payton, Raymond Burr
and much more.
MORE: Herman candidly recalls his working relationship
with Lon Chaney in great detail, and recounts how one production
required negotiations with both the U.S. Air Force and South
Dakota Sioux Indians.
SPECIAL: Herman's niece, Gail Cohen, recalls the uncle
best known as the producer of "I Was a Teenage Werewolf,"
"How To Make A Monster," "Horrors of the Black Museum,"
and more.
EXTRA: Cohen's Cobra Media partner, Didier Chatelain,
offers his memories of the late, great B-movie maven.
CULT: The Cohen Top 10! Not necessarily Herman's finest
films, but certainly his most interesting!
You'll find it all at http://www.bmonster.com
OBITUARIES
Herman Cohen
One of the most influential figures in genre-movie history,
producer Herman Cohen died at Cedars-Sinai Medical Center
in Los Angeles. He was 76. The classic B-movies he produced
bore such lurid, eye-catching titles as "I Was a Teenage
Werewolf," "I Was a Teenage Frankenstein," "Blood of Dracula"
and "How to Make a Monster." He revolutionized low-budget
filmmaking, reinvigorated the drive-in movie industry, and
left an indelible mark on baby boomers who discovered his
films on the late, late show. "In the '50s, he was one of
the kings of the drive-in horror movies," said film historian
Tom Weaver, neatly summing up Cohen's impact. "His pictures
helped put American International Pictures on the map."
The Detroit-born Cohen grew up with the movies, working
his pre-teen years at the Dexter Theater as an usher and
sometime "gofer." As a young man, he was named assistant
manager of Detroit's Fox Theater. Following a stint in the
Marine Corps, he became a sales manager for Columbia Pictures'
Detroit branch. Soon after, he moved to Hollywood to work
in Columbia's publicity department. He first tried his hand
at producing for Jack Broder's Realart Pictures in the early
1950s, going on to produce for Allied Artists and United
Artists, before making his reputation at American International
Pictures. AIP co-founder James H. Nicholson, an old friend
of Cohen's, invited him to produce something for the fledgling
operation. Accepting the offer, Cohen brought his unique
show-biz savvy to bear. He determined that more than 70%
of moviegoers were between 12 and 26 years old. He also
realized how popular horror films were with young audiences.
Monsters+teenagers=exploitation-film history! Cohen proceeded
to blaze a bloody new trail beginning with "I Was a Teenage
Werewolf," starring an unknown named Michael Landon. Before
its release, industry friends warned Cohen that having his
name attached to a film with such a title would ruin him,
and Cohen entertained the idea of a pseudonym. But the "buzz"
was incredible. Bob Hope, Jack Benny, Time and Look magazines
all made reference to the outlandish title before the film
was even released. It was a smash. Produced for less than
$100,000, it took in $2 million. Perhaps no other film better
captures the feel of the genre and the climate of the times.
Even people who know nothing about genre-films know "I Was
a Teenage Werewolf."
Following the aforementioned teen-horror classics, Cohen
set up shop in England, producing such cult favorites as
"Horrors of the Black Museum" and "Konga." The British productions
ranged in quality from effective ("Horrors of the Black
Museum") to execrable ("The Headless Ghost"). Cohen's nadir
was arguably "Trog," starring Joan Crawford as a nurturing
scientist who befriends a recently discovered troglodyte.
In 1981, after returning to the states, Cohen and business
partner, Didier Chatelain, formed Cobra Media, a film distribution
company which, not surprisingly, listed several horror films
among its titles.
THE B MOVIE MONTH IN REVIEW
CAMPBELL HEADLINES SOUPED-UP
"FLASHBACK"
Yet another fantasy-film confab blows into the windy city.
The Chicago Marriott O'Hare will play host to "Flashback
Weekend," a three-day monsterthon featuring films, celebrity
panels, a huge dealers' room and, according to publicity,
"many surprises." Guest of honor is our old buddy, Bruce
Campbell. The "Evil Dead" heartthrob will kick-start a nationwide
tour heralding the trade paperback release of his autobiography,
"If Chins Could Kill." (If you sign up for the con's Gold
or VIP packages, or hold a weekend pass, you get a copy.)
The con is sort of a de facto tribute to the "Dead" trilogy,
as the guest list also includes Ellen Sandweiss, Besty Baker
and Sarah York aka Theresa Tilly, known collectively as
"The Ladies of the Evil Dead." They'll be sharing the dais
for panels, autograph sessions, audience Q&As, and screenings
of the "Dead" films. And it's only fitting that effects
wiz Tom Sullivan, production illustrator and makeup creator
for the "The Evil Dead" will be on hand. Gore-mongers will
want to share in the con's special tribute to Herschell
Gordon Lewis, "The Godfather of Gore," who'll receive the
"Flashback Lifetime Achievement Award for excellence in
Showmanship." Ben "The 'Reel' Gill Man" Chapman will be
present, as will character actors Richard "Eegah" Kiel and
Robert "Manic Cop" Z'Dar. It all starts August 2. For more
info, check out: http://www.flashbackweekend.com It goes
without saying, tell 'em you came at the B Monster's urging.
HERE'S THE NEW "KID"
When Monster Kid Kerry Gammill isn't busy whipping up contemporary
creatures for the movies, he makes time to celebrate vintage
cinema spooks via his "Monster Kid" Website. For the woefully
uninitiated, or those who've been waiting in a state of
pitched anxiety for another issue of this retro cybermag,
take heart, (I almost said "fear not," but it doesn't seem
appropriate), Gammill's update is another fun-and-fright-filled
package. Veteran monster chronicler Bill Warren (author
of "Keep Watching the Skies," a comprehensive overview of
sci-fi cinema), contributes "Karloff's Last Act," recounting
his visits to the sets of Karloff's final four films (illustrated
with pics of a polished young Warren in suit and tie!).
A homey interview with 1940s Universal starlet, Peggy Moran,
is a nifty feature, as is "Monsters That Never Were," a
side-by-side comparison of test monster makeups with those
that made the final cut (in a manner of speaking). There's
a tribute to Gammill's hometown horror host, Gorgon, artist
Frank Dietz's inspired doodles, and a photo spread depicting
original Monster Kid Bob Burns' visit to Madame Tussaud's
Universal Monster wax exhibit, with photos by Bob's better
half, Kathy. Video reviews, links and a loving letters page
round out the edition. You'll find it all at: http://www.monster-kid.com
You don't have to be over 40 to dig it, but it helps. Tell
Count Gamula the B Monster sent you!
MAKE A B-LINE TO THE BAY AREA
The folks behind the world-famous Zagat's travel guide,
renowned purveyors and surveyors of the nation's cuisine
and pop-culture, have recently added Will "The Thrill" Viharo's
haunt, The Parkway Speakeasy, to the new "Zagat's Nightlife
Guide." As long-standing host of the Parkway Theater's regular
and well-attended "Thrillville" screenings of vintage B
movies, Will is justifiably thrilled that the Parkway rates
as the "Number One Most Appealing Spot in the San Francisco
Bay Area." "I don't mean movie theater," crows Viharo. "I
mean all around destination. Not Number Two, Three, or Four
Hundred -- you got it, Number ONE!" The life-loving, self-made
lounge lizard Viharo is also quick to point out that "they
specifically mention 'B movies' as one of our attributes,
along with the community atmosphere, sofas, wine, beer and
food, even though 'Thrillville' only presents films of that
particular vintage twice a month!" A spread in the Oakland
Tribune made the masses aware of the Zagat's citation. Congrats
to Will and the whole Parkway crew. To find out what the
heck this "Thrillville" scene is all about, check out: http://www.thrillville.net
RETROMEDIA'S IN THE MONKEY BUSINESS
Those rascals at Retromedia are set to release a slew of
titillating titles on DVD, including, at long last, the
Ed Wood-scripted "Bride and the Beast," starring Charlotte
Austin as a young newlywed subconsciously drawn back to
her jungle origins by her simian betrothed, and Lance Fuller
as her understandably perplexed human bridegroom. (See reviews
below.) Other new additions to their undeniably eclectic
inventory are Bert I. Gordon's unashamedly preposterous
"King Dinosaur," and a version of the Poverty Row shocker,
"The Mad Monster," which, according to Retro hype, "we've
reconstructed from two different print sources in an attempt
to create the most complete version possible. It's not perfect,
and probably never will be, but we've also added a beautiful
trailer, and an audio interview with the star, Glenn Strange."
As a bonus, the disk includes a second Glenn Strange/George
Zucco cheapie, "The Black Raven."
Calling it nothing less than one of "the Holy Grails of
horror," Retro is likewise unleashing "Deathmaster," a hard-to-find
Robert "Count Yorga" Quarry thriller that's been completely
restored from an original negative and features running
commentary by the star. Most curious of the batch, however,
is "Queen Kong," a 1976 British attempt to lampoon the legendary
cinema ape. It stars Robin Askwith as struggling actor,
Ray Fay (yes, Ray Fay), and English glamourpuss and former
shampoo pitchwoman, Rula Lenska as film director, Luce Habit
(yes, Luce Habit). Habit needs a male lead for the jungle
epic she's shooting, so she Shanghais the unsuspecting Fay
(or Ray, or, whatever). Hilarity ensues. Visit http://www.retromedia.org
to procure these guilty pleasures And, as always, tell 'em
the B Monster sent you!
RAIMI RETURNING TO B-MOVIE ROOTS
A few years back, Hollywood bigshots Joel Silver and Robert
Zemeckis formed Dark Castle Entertainment, ostensibly to
produce modestly budgeted remakes of 1950s and '60s horror
pictures. So far, we've seen trashy rehashes of two William
Castle classics, "House on Haunted Hill" and "Thirteen Ghosts."
Now, director Sam Raimi, riding the crest of Spidermania,
plans on teaming with his original "Evil Dead" co-producer
Rob Tapert to, according to Variety, "produce low-budget
SF, horror and fantasy movies," to be fully financed by
Germany's Senator Entertainment. While no specific properties
have been discussed, reports say that Raimi will not direct
any of the films, but will instead seek out young directors
or projects already in development.
TWINS TAKE SPEEDING BULLET
A movie about the mysterious death of TV Superman George
Reeves is under way at Miramax. Michael and Mark Polish
(the eponymous twins of "Twin Falls, Idaho") will produce
and direct the film, written by Paul Birnbaum ("The A-Team").
Though ruled a suicide, Reeves' 1959 demise has been the
subject of speculative books and television programs for
years. Production is expected to begin by the end of 2002.
No word as yet regarding who will portray Reeves in the
picture.
JACKMAN STAKES HIS CLAIM
X-Man Hugh Jackman is interested in starring in Universal's
upcoming horror feature, "Van Helsing," to be produced and
directed by Stephen Sommers, he of the lucrative "Mummy"
franchise. Jackman, best known as the snarling, steel-clawed
Wolverine, will assume the title role as Bram Stoker's 19th
century vampire hunter. According to sources, the film is
likely to feature several of Universal's classic monsters.
FRAKES AND WHITAKER IN THE "ZONE"
The UPN network has a new version of "The Twilight Zone"
on its fall schedule. The series will launch with a one-hour
pilot directed by "Star Trek: The Next Generation" star
Jonathan Frakes. "I'm so proud of it," Frakes told Sci Fi
Wire, "It's an adult television show." Uh oh. It's been
our experience that whenever a filmmaker points out that
his product is "adult," you can bet the farm you're in for
the most juvenile pandering imaginable. That may or may
not be the case this time, but why should this incarnation
fare any better than the last attempt at resurrecting the
classic series? According to Frakes, the pilot, starring
Jeremy Piven as a utility worker who develops the ability
to read minds after being struck by lightning, "has that
great 'Twilight Zone' cautionary tale tone." Hosting the
series will be actor Forest Whitaker. Says Frakes, "The
objective there was to get someone who does not remind you
at all of Rod Serling [ed: Mission accomplished!] and yet
brings what Forest does, which is this promise of mystery
and intelligence." On the stump promoting the show, Whitaker
told a preview audience, "It's a show that I've loved, and
I am hopeful that we'll get into some beautiful shows together
that all of you will love." Jonathan, Forest, the B Monster
is beggin' ya: Worry less about making it "adult," and more
about making it "good."
SEXY PREHISTORIC BEAST
According to the Hollywood Reporter, Sir Ben Kingsley is
likely to play a leading role in the upcoming feature film
based on Ray Bradbury's classic short story, "A Sound of
Thunder," to be directed by Peter "The Relic," "End of Days"
Hyams. Catherine "Spy Game" McCormack and Edward "Saving
Private Ryan" Burns have already been cast. Shooting is
expected to begin this month in Prague.
NEW ON DVD
DAGON
First of all, keep in mind that, when it comes to
the work of H.P. Lovecraft, readers are divided into two
clearly delineated camps: those who are unequivocally convinced
of his macabre genius, and those who think, "Yeah, he's
okay, but what's the big deal?" Much the same can be said
of director Stuart Gordon's films. He burst onto filmdom's
radar with "Re-Animator" in 1985. The modest, humorously
lurid adaptation of Lovecraft nabbed him a prize at Cannes
and a tremendous cult following, and the film ends up on
many a genre-film reviewers' list of faves. And then ...
"From Beyond," "Dolls," "Robot Jox," "Fortress, "Castle
Freak." He's yet to follow up with a satisfying film. ("Space
Truckers?" Please.) Yet, the "Re-Animator" coterie remains
devoted. (Oddly, he's least-celebrated for one of his most
engaging efforts, the story for the commercial smash, "Honey,
I Shrunk the Kids.") Now comes "Dagon," a Lovecraft adaptation
Gordon initiated 17 years ago. He was unable to find financing
until the Spanish backers of this production came on board.
(A glance at the credits reveals that just about everyone
back of the camera is Spanish except Gordon.) The film starts
well, crisply paced, well-acted, just enough humor to offset
the grotesque. And the premise, concerning a cloistered
seaside village populated by slimy, Dagon-worshipping fish
people, is enough to induce a goosebump or two. The first
half of the movie is fitfully exciting, artfully shot, it's
atmospheric, it's suspenseful, it's scary, it's on the 50,
the 40, the 30 ... fummblllllle! It caves in to some unfathomable
market demand for gratuitous gore, bare breasts and the
graphic depiction of torture. I've got a strong stomach.
That isn't the point. The point is that a promising, intelligent
movie is sacrificed to "naughty schoolboy" titillation.
Has someone conducted demographic studies proving that horror
fans are so lacking in imagination that they must be shown
EVERYTHING?
FLIGHT TO MARS
I have great affection for this incredibly dull film and
I'll make a brief, labored attempt to explain. It's got
rocketships, it's colorful (love those Crayola-hued, "Destination
Moon" suits), it's cute and wistful, and the cast is great
fun to watch, but I can't defend the pacing and laughable
gaffs in storytelling. (Our heroes begin hatching an escape
plot while their captors are still in earshot. Oh, well.)
Director Lesley Selander was one of the most prolific in
B-movie history, from "Hopalong Rides Again" to "The Vampire's
Ghost" to "Arizona Bushwhackers." (So, what can I tell you?
Cut the man some slack.) Cameron Mitchell, Arthur Franz
and Virginia Huston fly to Mars where they find a B-movie
"who's who" running the planet: Morris Ankrum, Robert Barrat,
Trevor Bardette, Stanley Blystone and Tristram Coffin among
others. Probably not such a bad place to live.
http://www.image-entertainment.com
VINCENT PRICE: THE SINISTER IMAGE
The short version? If you love Vincent, you'll dig this
disk. If you're a Price completist, the extras are invaluable.
The centerpiece is David Del Valle's filmed interview from
1987. For "reasons technical and legal," it lay on a shelf
until this version was whipped into shape exclusively for
DVD release. It's good to see Price looking hale and hearty
in his later years, recollecting his favorite and not-so-favorite
films. The DVD affords one the handy option of skipping
from one specific subject of interest to another ("Corman/Poe,"
"William Castle," "Jacques Tourneur," etc.). Price is gracious
and forthcoming, addressing laudable classics ("Laura")
and less auspicious outings ("War Gods of the Deep") with
equal candor. An audio interview, likewise conducted by
Del Valle, is also included, as is a photo gallery composed
of some 200 stills. The classic episode of the "Escape"
radio series, "Three Skeleton Key," starring Price as one
of a trio of sailors marooned on a rat-infested atoll, is
reproduced, and it's still chilling to listen to more than
50 years after its original broadcast. Best of all are two
television oddities you're unlikely to find elsewhere. "The
Wild Weird World of Dr. Goldfoot" (produced and scripted
by "Deke" Heyward) was a special episode of the "Shindig"
series and is largely an inflated commercial for the "Goldfoot"
films. Featuring Price, Harvey Lembeck, Tommy Kirk and Susan
Hart, it's kitsch out the wazoo. Far more compelling is
an episode of the long-lost syndicated series "Half Hour
to Kill." Price is the host AND the star of this "Thriller"-like
teleplay, about an atomic scientist on the lam. As directed
by actor Paul Stewart, there are some artful shots, some
unique twists and some truly bizarre dialogue.
http://www.alldayentertainment.com http://www.image-entertainment.com
THE BRIDE AND THE BEAST
I love Charlotte Austin. Who wouldn't adore such a B-movie
trooper? "Frankenstein 1970," "The Man Who Turned to Stone,"
"Gorilla at Large" and, the film that pushed the limits
of her resiliency, "The Bride and the Beast." "I remember
feeling physically sick when I read the script," she told
the B Monster. "Then I got control of myself and said, 'Now,
Charlotte, you have to make your house payments.' " Remembered
chiefly because it was scripted by Ed Wood, the favorite
whipping boy of "bad-movie" connoisseurs, it is a painfully
boring story about reincarnation (shades of "Bridey Murphy"
by way of "She Creature") with newlywed Charlotte battling
the urge to return to her gorilla spouse from a former life.
Both Austin and co-star Lance Fuller were ill as shooting
began, Fuller with pneumonia AND laryngitis. (With no voice,
he mouthed the dialogue which was dubbed in later.) Producer
Adrian Weiss had reams of stock jungle footage at his disposal,
and ludicrous efforts to match it to the "action" of this
film (including the stuffed head of a tiger mounted on a
stick) make it worth seeing ... but keep your trigger finger
close to that fast-forward button. "That was the nuttiest,
craziest film," said Austin. "I've never worked on anything
like that. I should make a movie on the making of that movie
because it was hysterically funny. 'Ed Wood' was nothing
compared to this."
KING DINOSAUR
At the start of this film, when you hear the stentorian
tones of narrator Marvin Miller, you'll almost be convinced
that a legitimately entertaining B-movie shocker is about
to unspool. But Miller's dulcet descriptions, and stock
shots of gantries, antennae, rockets and radar screens are
the best things in the picture. Unless you're partial to
lemurs, in which case you'll flip for Joe, the rascally
specimen who skedaddles in and out of several otherwise
terminally boring scenes. The plot? A new planet is discovered,
and four people go to it. That's it. There's padding galore
once they break out the Geiger counters, performing a scientific
sweep of what might have been director Bert I. Gordon's
backyard. The two seasoned female scientists in the party
shriek in terror at the sight of a snake, suggesting that
perhaps they weren't the steely-nerved explorers best-suited
for this mission. But you gotta love the filmmaker's chutzpah:
Who else but Bert Gordon would have his leading man gasp
in awe, "Tyrannosaurus Rex! King Dinosaur!," while looking
at an ordinary lizard from the local pet store?
THE TIME MACHINE (2002)
This film's tortured genesis was closely scrutinized by
the sci-fi literati. According to reports, following extensive
production delays, director Simon Wells had to step down
as filming drew to a close due to exhaustion, handing the
reigns over to Gore Verbinski who added the finishing touches.
Much was made of the fact that Simon is a descendent of
H.G., and therefore the production would be imbued with
a certain gravitas. It isn't. It's a big, handsome, curiously
heartless film. The consensus among genre-film fans seems
to be that "it isn't as bad as it might have been." True
enough. Nor is it as GOOD as it SHOULD have been. It LOOKS
good, but is that enough? Sadly, nowadays it seems to be.
Comparisons to George Pal's classic version are inevitable,
so let's get them out of the way. Samantha Mumba assumes
the Yvette Mimieux role of a doe-eyed Eloi, and Seven-Up
huckster Orlando Jones as a history spouting hologram, replaces
the talking rings. Significantly, the menacing Moorlocks
of the Pal film are NOT outdone by the high-tech terrors
of the 2002 redo. The work of effects meister Stan Winston
look rubbery and unconvincing in closeup, and even worse
in CGI longshot as they skitter after the benign Eloi. Albino
bad guy Jeremy Irons (or is it 1970s rock star Edgar Winter?)
has the onerous task of explaining just about the entire
film to hero Guy Pearce (and the audience) in one long soliloquy.
On the plus side, Pearce is quite good, although he claimed
in interviews that the filming was exhausting, he didn't
much care for his performance, he disliked American filmmaking
and was returning to his native New Zealand. So there! Alan
Young, who appeared in the Pal version, makes a cameo, but
don't blink or you'll miss him.
HORROR OF THE BLOOD MONSTERS: SPECIAL EDITION
This movie's not very good, but it makes for a fascinating
B-movie history lesson. For instance, many of you probably
think that the drive-in movie phenomenon died abruptly as
the 1950s drew to a close. Wrong! And a great debt of thanks
is owed producer Sam Sherman for his attempts to pump fresh
blood (play on words intended) into the waning institution.
Throughout the 1970s, Sam's Independent International productions
lit up drive-in screens with such lurid titles as 1971's
"Horror of the Blood Monsters," a crazy pastiche of color-tinted
B&W footage culled from a Filipino caveman film, stock
shots of lizards and men in dinosaur suits we've seen a
zillion times elsewhere, and crudely staged new scenes concocted
by Sherman's most notorious partner in crime, director Al
Adamson. (Adamson was murdered in mysterious circumstances
a few years back, but that's grist for another treatise.)
Easily the best feature of this "special edition" is Sam's
audio commentary. The uninitiated might expect the recollections
of an embittered B-movie "genius" whose work was misunderstood.
Wrong again! Sam is terrific! Affable, wry and self-effacing,
sarcastic but rarely at the expense of the people behind
the scenes, he recognizes the film for what it is, a "mish-mosh"
(to use his phrase) drawn from disparate sources that all
involved hoped would turn a profit. His insights make it
worth your while to endure the film. Case in point: When
it came time to concoct a title, he sat down with pen and
paper and made a list of all the words appropriate to the
genre, deciding that the three most marketable were "monsters,"
"horror" and "blood." He scrambled the order of the words
and, voila!. At one juncture, Sam realized that red, blue
and green-tinted Filipino filler, padded with endless Adamson
scenes of people walking, stopping, talking and walking
some more, didn't make for a very coherent package. At Sam's
request, Adamson rounded up family and friends and took
to the streets of L.A., where they filmed themselves as
vampires putting the bite on innocent citizens. These new
scenes were tacked onto the existing film. Apparently, the
ludicrous narration overdubbed by cult-figure Brother Theodore
was supposed to explain how footage of cave-dwelling Filipino
vampires and David Hewitt's space effects from "Wizard of
Mars" ended up in the same film. The icing on this curious
cult-movie cake is the presence of John Carradine as a pontificating
scientist, gnawing the scenery to shreds, as usual.
http://www.image-entertainment.com
DOCTOR DRACULA
Nine years later, Sherman and Adamson were still at it,
and it's interesting to note that, while the 1980 release,
"Doctor Dracula," is more polished in its presentation than
"Horror of the Blood Monsters" (it would HAVE to be), it
is also far less interesting. Adamson had matured a bit
as a director, blocking scenes more effectively (though
in one poorly cropped shot, a wayward boom mike descends
into frame and lingers for several seconds), but the film
has the drab look of a shoddy TV movie that no one seemed
particularly interested in making. While there's no commentary
this time around, Sherman may well have called this film
a "mish-mosh," as well. Muddled and confusing, it's as though
two films are running at once and the audience has no choice
but to wait until they converge. The premise, while childish,
is mildly intriguing. It seems that Svengali (treated here
as a real person rather than a fictional figure) has been
reincarnated, and must rely upon John Carradine's Satanic
cult to supply fresh souls to sustain his longevity. Meanwhile,
Dracula himself, disguised as Dr. Gregorio, has hung out
his shingle across town. For reasons not entirely clear,
he and Svengali dislike each other intensely, and Drac seems
determined to debunk Satanism and prove that fresh blood
is the only sure prescription for everlasting life. The
most disturbing thing about the film is the way Carradine
has aged since "Blood Monsters" was shot nine years earlier.
He seems pained and distracted, and his hands have been
turned to claws by crippling arthritis. (Even so, he continued
to appear in films for seven more years.) An R-rated version
of "Doctor Dracula" containing some (ahem) more explicit
footage was released as "Lucifer's Women."
http://www.image-entertainment.com
SPECIAL THANKS TO:
Michael F. Blake, whose books are available through Vestal
Press or at http://www.amazon.com
Harris Lentz III, whose books are available at http://www.mcfarlandpub.com
Bob Madison, whose books are available at http://www.amazon.com
Bryan Senn, whose books are available at http://www.mcfarlandpub.com
and at http://www.midmar.com/books.html
Tom Weaver, whose books are available at http://www.mcfarlandpub.com
and at http://www.midmar.com/books.html
PARTING BLURB
"1400 pounds of frozen fury that moves like a man!" -- Half
Human
|
