SALEM'S LOT 1979

Classic 70's Stephen King TV Terror !!

      One of the true milestones of small-screen terror, this Stephen King adaption remains to this day one of the most frightening examples of TV horror and stands (both theatrical and TV) as one of the best King screen translations ever filmed. Premiering on Nov. 17, 1979, it's 181-minute running time was spread over two nights with the conclusion airing on Nov. 24. Directed by Tobe Hooper (TEXAS CHAINSAW MASSACRE) and right in between his work on EATEN ALIVE and 1980's FUNHOUSE his choice as a director for a TV movie was unusual in that a horror director (arguably at the height of his powers) would be chosen to helm a TV project.
     King's sprawling novel mixing vampires & small town corruption from within into a Peyton Place like setting (in fact SALEM'S LOT screenwriter was Paul Monash who worked on PEYTON PLACE) and was the first of his novels to show the beginnings of the King universe with some characters and references that would pop up in later works. Warner Bros. has been wrestling for several years on a theatrical version of the novel before finally turning it over to its TV division which could better handle its needed lengthy running time.

     Dealing with a small Maine town and the creeping terror of a vampire colony integrating itself into everyday life, the movie features a mix of then familiar TV faces along with bit of classic Hollywood in the form of James Mason (THE DESERT FOX) and Lew Ayres (ALL QUIET ON THE WESTERN FRONT) along with a host of character faces including a reunited Marie Windsor and Elisha Cook Jr. from Stanley Kubrick's THE KILLING. Filmed in the northern Calif. town of Ferndale (with its pine trees making a reasonable facsimile of Maine) it was budgeted at a pretty hefty $4,000,000 and later spawned a sequel with Larry Cohen's bizarre RETURN TO SALEM'S LOT and a remake of the original in 2004 which falls short of this version.
     David Soul (just finishing the last season of STARSKY AND HUTCH) plays novelist Ben Mears who returns to his childhood home of Salem's Lot (although called Salem's Lot in the film the actual name in the book was Jerusalem's Lot with the shortened Salem's Lot being used for the book title) in order to write a new book and hopefully exorcise some past demons related to a local haunted-type house (ominously referred to as "The "Marsten House" throughout the film). Once there he hooks up with pretty local girl Susan Norton (Bonnie Belinda DIE HARD) and becomes involved in a deepening mysteries about town involving missing children and an increasingly evil atmosphere.
    The events seemed to be tied into the arrival of another new person in town in the form of the mysterious Mr. Straker (Mason) and his unseen antique business partner "Mr. Barlow" with Straker taking up residence in the mysterious Marsten house. Also becoming involved is monster kid Mark Petrie (Lance Kerwin JAMES AT 15) whose bedroom is a treasure trove of monster kid stuff that will have you consonantly reaching for the pause button on the remote.

     As mentioned King's book had his first small town with multiple intertwined characters plot lines and the screenplay by Monash takes multiple characters from the book and merges them into a single one, that while cutting down on the number of personalities (budget and time frame-wise) does give the town a rather under-populated feel to it. The Father Callaghan figure whose a strong secondary character in the book is regulated to a couple of short scenes here and with the exception of Susan's jealous ex-boyfriend and the adulteress wife of menacing George Dzundza (who at times seems creepier than the vampires lurking about) most of the secondary plotlines are jettisoned.
    For a TV movie, the film has some truly horrific sequences including the now-famous floating vampire kid sequences (although by the third time it gets a bit repetitive - which is one of a couple of reasons why this works best when its spread out over two viewing nights like the original broadcast). The makeup by Ben Lane and Jack Young is excellent as for one of the first times on TV (with maybe THE NIGHT STALKER  also) vampires were shown as a horrific and malevolent force of evil with a feral/animalistic like appearance. Reggie Nalder (MARK OF THE DEVIL) plays the gruesome head vampire Barlow appearing almost like a huge repellent insect and with a look that recalls both F.W. Murnau and Werner Herzog's versions of NOSFERATU. Entirely a creature of horror, there's no romantic overtones or suave evening clothes going on here.

     Hooper seems a bit shackled here as with most TV movies there's an almost endless procession of talking heads in order to advance the plot, but he does stage several excellent sequences including the above mentioned "window" scenes (with fingernails scrapping lightly on the glass) and the morgue resurrection of a female vampire being standouts (plus the sight of Fred Willard in red satin boxers is pretty unnerving). Sadly one of the book's standouts, the attack on the school bus, was not used - although it does show up in the highly flawed 2004 remake. David Soul is a bit flat in the lead (in his dialogue scene with James Mason he almost seems to fade into the background). Things are helped along quite a bit however by the cast of seasoned old pros with Elisha Cook Jr. playing the role that become a staple of his for the latter part of his career (grizzled old drunk) and Mari Windsor still looking incredibly sexy at 60 years old.
     As mentioned, when watching it now it does help immensely to spread it out over two viewing nights as with most of the horror elements back loaded into the second half it helps sustain some suspense by not wadding through the entire thing all at once. To be fair it would be extremely difficult to bring the books atmosphere of slowly encroaching horror to the screen as the plot here gets a bit bogged down with investigating and explaining.
     Warner's new blu-ray also gives us a much better appreciation of the films excellent set design in particular the interior of the Marsten with its moldy green tinged look to everything and the clouds of floating dust and cobwebs drifting about throughout.
    It was edited to 112 min for release to theaters in Europe where added scenes and longer/re-cut sequences were added. Although a harder version with added blood (and even a bit of supposed nudity) was rumored to exist except for the death of Bill Norton (which lingered on his antler impaling for a few seconds and is now restored on the current 184 min blu-ray) and the shotgun being placed directly in Fred Willard's mouth rather than just in front the current Warner blu is the complete version as originally aired. As with the book the film gives us a hankering for a prequel as the story of Hubie Marsten and his relationship to Barlow is something I'd really like to see King tackle one day.

All The Above Screen Caps Are From The Warner Blu-Ray

More 70's TV Terror - THE NIGHT STRANGLER 1973

One & Only Darren McGavin (AKA Carl Kolchak) Returns For Another Classic Small Screen Horror With a Belly Dancing Jo Ann Pflug, Mad Doctors, Alchemy AND John Carradine !

      

  

     With the mega success of 1972's THE NIGHT STRANGLER it was inevitable that ABC would follow it up with a sequel continuing the supernatural adventures of intrepid reporter Carl Kolchak as portrayed by Darren McGavin. Premiering on Jan. 19 1973, THE NIGHT STRANGLER was another major ratings success prompting the network to order up an ongoing series. Playing out almost as a remake of the first the movie THE NIGHT STRANGLER improves on some plot items carried over from STALKER while others fall a bit flat compared to the earlier outing. With the "monster" not reveled until the closing moments STRANGLER plays out more like a mystery but contains enough mention of horror elements to keep us reminded of what we tuned in for.
     After being run out of Las Vegas in the previous movie THE NIGHT STALKER, Kolchak ends up in Seattle, WA. where in a bit of happenstance he hooks up with his old publisher/nemesis Tony Vincenzo (the incomparably grouchy Simon Oakland) and is duly hired to work as a reporter. To add to the fun (and the horror cred) the newspaper publisher is played by everybodys favorite old curmudgeon John Carradine, who not surprisingly enough plays an old curmudgeon newspaper publisher (and sporting a horrible black dye hair job). This was one of six roles for ol' John in 1973 (which is nothing compared to the 11 (!) he would cash a paycheck for in 1977 !).

     Kolchak is immediately assigned to cover the murder of a belly dancer in the rough & tumble area of Seattle known as Pioneer Square and of course (also immediately) begins to come across supernatural elements related to crime. As other bodies begin to appear with their necks crushed and a small amount of blood missing (and all working at the same belly dancing establishment) they seem to tie into a string of murders that go back over 100 years with a string of 8 killings every 21 years. Along the way Kolchak butts heads with the usual bunch of incompetent and/or perpetually pissed-off authority figures. Eventually things lead to a 140 plus year old doctor who's practicing alchemy while hiding in the bowels of underground Seattle preforming experiments that require the blood of young women.

     While it can be augured that the film is basically a remake of the previous movie (the first 20 minutes after Kolchak's assignment to the initial story is almost shot for shot from STALKER) it does stand on its own as a great small screen chiller. Returning scriptwriter Richard Matheson serves up several excellent sequences including the creepy underground city and the doctor's mummified family setting around the cobweb strewn dining room. STALKER producer Dan Curtis (DARK SHADOWS) steps into the directors chair and and in some ways STRANGLER is a better movie that along with Matheson's writing it presents more fleshed out characters and keeps the mystery and "what's going on ?..." aspect of plot more interesting - although having the majority of the victims all working at the same bar is a bit of a stretch (the police don't seem to pick up on it) and was most likely done for economies sake.

     When the movie premiered it ran at usual 74 minute running time in a 90 minute slot but was expanded for European theatrical release to 91 minutes and its this longer version that appears on the MGM DVD. Although its always interesting to see a longer cut, unfortunately the extra time doesn't add anything to story as it drags out several guest star sequences that get in the way of the plot such as Al "Grampa Munster" Lewis as a wino and Margaret Hamilton (THE WIZARD OF OZ) as grouchy professor and alchemy expert.
     For Kolchak's female companion we have the wonderful and bubbly Jo Ann Pflug (who now days works as a motivational speaker) playing a part-time student (and part-time belly dancer - which is one of the STRANGLER's highlights). She's eons better then Carol Lynley's underused and limp noodle character in STALKER and I always thought it was a bit of a shame that she didn't show up in the later series, as the ending leaves open that possibility. Also on hand is Scott Brady (who takes the place of STALKER's Charles McGraw as the grouchy police captain - and also sporting a questionable black dye hair job) and best of all Wally Cox, who in one of his final roles plays a scene stealing newspaper archivist (his scene with Carradine is one of the highlights of both movies). Nina Wayne (younger sister on Carol Wayne), plays a ditsy blonde belly dancer in several alternately creepy/humorous (& 1970's unPC) sequences with her "husband" that would never pass muster today.

     Even though he has a very limited amount of screen time Richard Anderson (who was just starting THE SIX MILLION DOLLAR MAN) is excellent in the role of the title character and his final scene still packs a bit of a jolt to this day. For all that's been said of Darren McGavin's portrayal of Carl Kolchak (and it is excellent - literally no one else can you picture in this role) its Simon Oakland as the ever suffering editor Tony Vincenzo who is the background heart & soul of these movies (along with the forthcoming series). Easy to see on just the surface as simply a loud mouthed buffon he helps ground the plots and brings a smile to your face whenever he's on screen.
    The movie has enough filmed in Seattle bits to give it a local flavor (the space needle, Jo Ann's houseboat) with the Universal back lot filling in for the remainder.  I swear after you watch enough Universal 70's television with that same street you always keep expecting to see Adam-12 come cruising by at some point. For a short time afterwards ABC toyed with the idea for a third movie with Barry Atwater returning has the (un)dead vampire Jonas Skorzeny from NIGHT STALKER to confront Kolchak in New York City or an even more bizarre plot idea concerning UFOs, nuclear power & aliens in Hawaii which was to be titled THE NIGHT KILLERS before green lighting a series.

THE LEGEND OF LIZZIE BORDEN 1975 - Creepy 70's TV Historical True Crime !

"Lizzie Borden took an axe

And gave her mother forty whacks

When she saw what she had done

She gave her father forty-one"

    Premiering during ratings sweeps on Feb. 10 1975 this was one of the best remembered and controversial TV movies released during that golden age of small screen movies. Although not a horror movie by definition THE LEGEND OF LIZZIE BORDEN was one the more creepily unsettling viewing experiences of the time and thanks to its long unavailability (up till now) on home video and the impression it made on young minds (if you were lucky enough to have seen it) it has become something of holy grail for baby boomer horror movie fans. Up till now the only way to see this was via bootlegs of varying degrees of horrible quality, but a nice region 1 DVD from New Video Group (licensed from CBS Home Video) has recently been released.
   Viewing it again after almost 40 years its amazing to see how well its held up and how many of the things that were vaguely unsettling to me as a young teenager are now brought even more to the forefront (not to mention the copious amounts of blood flying about). Playing out as a weirdly hypnotic combination of American Gothic merged with a European art house film it remains to this day an unnerving viewing experience with some not to vague (and even some outright) references to necrophilia, incest and drug use lurking about in it's plot. Anchored by a mesmerising performance by Elizabeth Montgomery it was based on the actual events that incurred in Fall River Mass. during the summer of 1893 concerning the hatchet murder of Andrew & Abby Borden followed by the sensational trial and acquittal of their daughter Lizzie (Montgomery) for the murder.

    Following the actual events closely (some of the other family members present in the household have been removed) the film starts off like many true crime films with the discovery of the murder and then following through with the subsequent trial and its outcome, it has been criticized for simply being a drawn out TV courtroom drama (which at its core it is). However thanks to the above mentioned performance of Montgomery (along with a bunch of familiar TV faces), some truly disturbing flashback/dream sequences and the overall atmosphere of morbid family secrets in a sweaty (the actual murders took place in the midst of an oppressive summer heatwave, which the film brilliantly recreates) & claustrophobic setting the film does rise above your typical TV fare of the period.
   Sharing another plot point with other true crime films the movie presents the murder as a flashback during the trial and because the actual facts of the murder are still unknown to this day the film presents them as a "what if" with Lizzie Borden thinking back to the events of the murders. Although there have been other theories put forth to the identity of the perpetrator most scholars agree that Lizzie got away with murder and the movie does show her as the murderess (although it's been put forth that perhaps this sequence in the film is meant to be a dream). One of the mitigating circumstances that allowed her to be declared not guilty was the complete lack of blood seen on her immediately following the discovery of the crime (which had just happened prior to a maids discovery). The film puts forth an alternate theory (which leads to one of the best remembered sequences in 70's TV) that Lizzie stripped down naked and washed herself after each murder.

    The scenes of Montgomery slowly stripping down (at one point even caressing the hatchet handle) and later washing up are some of the more erotically charged sequences seen on TV up till that point and must have made quite an indelible impression on young minds (I know it did mine). Supposedly there was a harder cut prepared for Europe that showed Montgomery with full frontal nudity and when viewing the DVD today there is some brief instances of a visible nipple that does show that at the very least she did the scenes topless.
   The daughter of actors Robert Montgomery and Elizabeth Allen, Elizabeth Montgomery is most famous for her role as Samantha Stephens in BEWITCHED which ran from 1964-72 (in a role she grew to feel increasingly frustrated in) and later would work primarily in TV movies with roles here and in 1974's A CASE OF RAPE giving an example of what a gifted actress she was. Married to producer William Asher (the "Beach Party" movies) from 1963 to 1974 (and earlier to actor Gig Young and later to Robert Foxworth) she passed away in 1995 from cancer. Here as Lizzie Borden she gives a wonderful shape shifting chameleon like performance alternately creepy and vengeful and then playfully flirting with the men in the courtroom.

    Along with Montgomery it features a terrific cast of supporting characters including Ed Flanders (who appeared at one time or another in about every TV series), Katherine Helmond as Lizzie's sister and Fritz Weaver as the father (who seem to specialize in playing tyrannical family patriarchs). Although most likely not generating a bunch of press, for me this is one of the top DVD releases of the year. Amazon still seems to have a couple of the iffy releases listed, but this is the one you want.