The Last Few Movies I Saw: Episode XIV – Fury World

Ordered by my increasing opinion of them.

Walk Away:

Incidentally, I think the black rhino just went extinct this year.

Robin Williams (Hook), Edward Norton (Moonrise Kingdom), and Catherine Keener (The 40 Year Old Virgin) star in Danny DeVito’s Death to Smoochy (2002). How you could make a black comedy about the seedy underbelly of children’s entertainment so bafflingly unfunny is anyone’s guess. You would think the jokes would write themselves. I remember wanting to see this when it first came out, hearing it was terrible, then hearing it had a cult following and wasn’t that bad. I thought maybe it would be like Ben Stiller’s The Cable Guy, reviled for being so dark but discovering reports of its suckitude were greatly exaggerated upon my own personal viewing. Nope. This is a garish groaner that thinks it’s wackier than it really is. Stick with Matilda or War of the Roses.

Meh/Misguided:

Terry might be the most comically evil character in cinema history.

OK. OK. OK. The Karate Kid, Part III (1989) is in no way anything less than a ludicrous mess of nonsensical garbage piled upon a plate made of lunacy. It’s messages are contradictory. It’s thrills are awkward, comically contrived, and unearned. It’s lead actor (Ralph Macchio) is clearly coked out of his mind. It’s motivations are embarrassingly childish. Yet, all these truly ugly miscalculations make it humorous in the same way we enjoy Troll 2 and The Room.

Get it? It’s eating “Jaws”. It’s a metaphor. You know, symbolism? Darn it all, we are clever bastards. …On another note, how many sharks must they go through a day to feed this thing. Great whites can’t be cheap.

I wanted to like this one. Dinosaur movies are something of a rarity and I was excited to go back to the park. Alas, Jurassic World (2015) is a joyless, candy-painted shot of novacane. It looks colorful, but I felt nothing the whole film. The original Jurassic Park (1993) is a cherished classic, yes, and two of the in-between sequels are sort of okay to varying degrees, but this latest entry feels even more geared toward children and the Marvel superhero audiences. It isn’t the overuse of CGI, either. For me it lacked character, discovery, tension, or genuine thrills (you need character for thrills to register). The best, most highly rendered special-effects in the business can’t save a foundering script or a lack of charisma. Ironically, the film’s central satirical parable of the necessity of upping the ante to awaken jaded audiences produces the blandest entry in this ever diminishing franchise. It’s faster, hammier, cheesier, lazier, stupider, less challenging, and ultimately has trouble forcing the fun. The first Jurassic Park was a milestone of cinema at the time and it was unlike anything audiences had ever seen before. In Jurassic World‘s failed attempts to infuse steroids into the series, its creators have fashioned a movie that looks exactly like all the other sterile, terrible kiddie action movies of the last several years. Instead of being happy it’s less insulting than the Transformers movies, we should be asking for better movies. At least dinosaurs fight each other in it.

Guilty Pleasures:

“I Love Lucy”? Oh, so your parents were talented. I see, Desi, Jr.

Horror legends Vincent Price (House of Wax), Peter Cushing (The Curse of Frankenstein), Christopher Lee (The Wicker Man), and John Carradine (House of Dracula) star in the creaky comedy-horror B-flick The House of Long Shadows (1983). The actors’ ages are showing and you’re worried for their joints every time they lift a pewter goblet and, truth be told, the story is dopey and the script, for the most part, fails at being either comedic or horrific. However, if you’re a fan of the withering cinematic warlocks listed above, you’ll probably enjoy watching them effortlessly outshine both the silly script and Desi Arnaz, Jr.

I’m gonna hijack the Declaration of Independence.

Con Air (1997) is of historical significance if only because it may be the first film Nicolas Cage’s zaniness broke free of its previously Oscar-winning tethers. Donning the worst mullet, worst Southern accent, and worst back-story, Cage and a stuffed bunny board a prison plane full of psycho mutinying inmates (John Malkovich, Ving Rhames, Dave Chappelle, Steve Buscemi, Danny Trejo, and others make up the airborne cast). It’s dumb, loud, and a mostly unintentionally hilarious blast in the spirit of Face/Off. It’s nonstop nuttiness in the guise of a serious action thriller. Also features John Cusack (1408) and Colm Meaney (Get Him to the Greek).

Interestinger and Interestinger:

ta-pocketa-pocketa-pocketa-pocketa-pocketa…

Right after I heard the news of Christopher Lee’s passing I watched Rasputin: The Mad Monk (1966). Hammer vixen, Barbara Shelley (Village of the Damned), co-stars in this loose biography of the bizarre Russian mystic who weaseled his way into the last Czarina’s good graces. It may not be the most memorable movie, but it’s got some good moments and Lee gives a fun performance as the titular hypnotizing wacko. Tom Baker (Dr. Who) is still my favorite Rasputin though.

God…all the plaid.

Alexander Payne (Sideways, About Schmidt) puts some gorgeous black and white photography to good use in Nebraska (2013). Bruce Dern (Silent Running) and Will Forte (SNL) star as an alcoholic, dementia-addled old man and his good-natured, long-suffering son respectively. Woody Grant (Dern) believes he’s won some prize and demands to go to Omaha to retrieve his cash (everyone else knows it’s all a scam). Reluctantly, his son David (Forte) agrees to take him—if only to ensure the stubborn patriarch’s safety. When Woody starts telling family and locals of his dubious earnings before he’s even collected the nonexistent dough, the small town drama begins…but not without some comical Midwestern moments. It’s pleasant, humorous, and ultimately a tender little film.

They’re just reading about the Rachel Dolezal thing.

This film is timely, intriguing, and—while somewhat high on its own cleverness—raises a lot of good points…if in a smug and sort of pretentious manner. Justin Simien and Adriana Serrano’s Dear White People (2014) is the closest thing we have to a Do the Right Thing for generation-blog. Black, white, and mixed race ivy league students verbally spar over racial privilege and politics. It’s wonderfully cast and hits its points efficiently and does a good job of leaving enough ambiguity for audiences to mull over. And it delivers its messages in a genuinely funny and entertaining way. For a movie dealing with so many hot button issues it’s a wonderfully watchable film.

Beyond Our Borders:

Me and my shadow…

Set in a weird Iranian town called Bad City, Ana Lily Amirpour’s A Girl Walks Home Alone at Night (2014) is a sumptuously photographed off-beat vampire flick that feels like a slowly creeping dream. It’s dark, doleful, deliberately paced and, while it most assuredly won’t be for everyone, it’s a rich example of inventive horror that explores vampire tropes in ways that rival Let the Right One In or Only Lovers Left Alive. You’ll never look at the ghostly specter of a flowing black burka atop an aimless skateboard the same way again…if you’ve ever seen that before to begin with. Like a lot of offbeat neo-vampire fair, it’s a wry but sexy slow-burn.

Ever see Hogan’s Heroes?

La Grande Illusion (1937) is a classic jailbreak POW movie directed by Jean Renoir (La bête humaine). The story concerns French officers and soldiers being held captive by the Germans during World War I. What sets La Grande Illusion apart is its daringly human portrayal of the enemy. People are people and just happen to be French or German. For a classic war movie, it is almost refreshingly absent of nationalism. It’s rightfully ranked alongside The Great Escape, Stalag 17, and The Bridge On the River Kwai.

Finding Our Way Through the Shadows:

Yup. Looks like traffic court.

Orson Welles (Citizen Kane) adapted a story by Franz Kafka with Anthony Perkins (Psycho) in The Trial  (1962). Shot in Europe, the story unfolds like a subtle nightmare. A man is put on trial, but is never told the charges and he becomes entangled in the fuzzy dream logic of this world’s chaotic legal system. It feels like a trip down the rabbit hole and the cinematography and gritty interiors and landscapes add such strange beauty and texture to this peculiar project that was apparently, like many of Welles’ films, under-appreciated at the time of its release.

The mummy strikes!

Here’s a challenge readily embraced by director Delmer Daves: can you hide your protagonist’s face for the first half of your movie? Better yet, film most of it in POV. Somehow Dark Passage (1947), starring Humphrey Bogart (The Maltese Falcon) and Lauren Bacall (The Big Sleep), nails it and, rather than it coming off as a cheap gimmick, really utilizes the unfamiliar technique for solid narrative effect. It’s a classic mystery noir about a man who escaped from prison (convicted for the murder of his wife). While there are many brilliant scenes in the movie and clever camera angles, my favorite bits might be the conversation with the taxi driver and subsequent meeting with the plastic surgeon. The POV really pulls you into the story in a surprising and effective way.

Admittedly, I’ve only seen Bullitt on a plane, but I liked this better than Bullitt.

A quiet getaway driver played by Ryan O’Neal (Paper Moon) is trying to avoid being set up by an obsessed police detective (Bruce Dern). That’s really all you need to know for Walter Hill’s The Driver (1978). Not to be bogged down with too much dialogue or too complicated a plot, The Driver is all gorgeous 70s style and fantastic car chases. The film exudes coolness. Isabella Adjani (The Possession) also co-stars. Watch it. It’s great.

Really, a Tough Call:

That honestly can’t be good for the rabbit.

Fans of the Coen Bros.’ Fargo may be familiar with the oft reported case of a Japanese woman who, believing the film to be a true story, went searching for where Steve Buscemi buried the suitcase full of money in the snow. The Zellner Bros.’ Kumiko, the Treasure Hunter (2014) is a fictionalized version of how that woman came to America in search of that money. Rinko Kikuchi (Pacific Rim) gives a heart-breaking and deeply internalized performance as Kumiko, a sad misfit obsessed with treasure hunting. Her journey from the alienating officetels of Tokyo to the isolating snowdrifts of Minnesota is weird, awkwardly comical, and touchingly disconsolate. This movie comes highly recommended. It’s a quiet and vaguely surreal film that sits with you hours after watching it.

Maybe even more enjoyable than The Road Warrior.

Everyone saw it. Everyone loved it. And, truly, I get it. Mad scientist George Miller’s fourth installment of his Australian cult series, Mad Max: Fury Road (2015), really is a masterpiece of dystopic action and brutal but balletic car carnage. There’s an adrenaline that doesn’t quit and a score that pulses aggressively forward and an explosion-filled chase crammed with Frankenstein vehicles that doesn’t let up. It’s got a lot typical Miller quirk and visual inventiveness. Tom Hardy (Bronson) and Charlize Theron (Prometheus) stoically lead the way through a stark, unforgiving desert, but it is Nicholas Hoult’s character, Nux, who gradually becomes the real emotional core of the film. Motorcycle grannies, bungee guitar mutants, muscle cars souped up with spikes and tank treads, and chainsaw-wielding gas-mask guys atop 50 foot pendulums swinging over erupting furnaces of vehicular devastation not your thing? You may not enjoy this, if that be the case. Whether you’re a longtime fan of the Mad Max series or a newcomer, this is gleeful, calculated, visceral mayhem. It ought to be a crime to be this bonkers and badass.

Bogey Gets the Gold

As I sit and type in this infernal LA heat I feel it only appropriate to write about The Treasure of the Sierra Madre. The great John Huston (Moby Dick, Wise Blood) directed this golden classic in 1948 which was based on the novel of the same name written by the mysterious B. Traven. Much of it was filmed on location in the sweltering heat of Mexico. The film starred Humphrey Bogart (Casablanca, The Big Sleep, The Caine Mutiny), Tim Holt (The Magnificent Ambersons, My Darling Clementine), and John’s father Walter Huston (Abraham Lincoln, The Devil and Daniel Webster) as a ragged trio of down-and-out fortune hunters seeking to find gold in a cruel 1920s Mexican desert. It is a rich and complex film that boldly neglects sentimentality in favor of a delirious story about greed, betrayal, paranoia, and the death of human decency in the face of all three.

John Huston and Humphrey Bogart had teamed up previously for Huston’s first film and solid noir classic, The Maltese Falcon (1941), and would pair up again after Sierra Madre for more unmissable classics, Key Largo (1948) with Lauren Bacall and Edward G. Robinson and The African Queen (1951) with Katherine Hepburn. Treasure of the Sierra Madre is another first rate character drama loaded with tension and texture. Its a fantastic classic not to be missed.

The gunfire from Federales executing bandits rings in the distance. People peddle their wares on every corner and all around is the inescapably dense feeling of stifling heat and the odor of too many humans living too close to each other. A sweaty, grizzled hobo, Fred C. Dobbs (Bogart), begs for pennies in the chaotic and colorful post Mexican Revolution town of Tampico. He is a self-professed “fellow American who is down on his luck” who sleeps on park benches and lives from drink to drink. Dobbs finds a fellow homeless American named Bob Curtin (Holt). Together they take a construction job from a shifty American who cheats his workers and runs off with their pay. Life is going nowhere for Dobbs and Curtin until they meet an old, penniless prospector named Howard (Walter Huston in his Academy Award winning role) in a seedy hostel. Howard jokes about the horrors he has seen and the wisdom he has gained from his many years on the trail mining gold. Dobbs doesn’t buy into the magical power of gold. He understands it all depends on what kind of a man finds it. Though he seems to be a bit cracked, the good-natured Howard is welcomed into the group of gringos by Curtin. The three invest all of what little they have attained during their cruel lives to obtain burros and supplies for a long journey and hopefully a profitable dig for gold in the Sierra Madre.

Much trekking and much sweating leads them into the wilds of untamed Mexico. Jungles, deserts, banditos, and sore feet all urge them to turn back, but the hearty old prospector puts their young muscles to shame as he jovially bounds onwards and upwards as sure-footed as a mountain goat. Just as exhaustion sets in and Dobbs and Curtin prepare to turn back, Howard cackles maniacally and calls them a couple of jackasses as he claps and performs an impromptu jig, for lo and behold the very dust beneath their feet sparkles with the tantalizing hues of that which they seek: gold. They quickly set up a mine and begin their panhandling. Always wary of strangers—for the perch is precarious—they proceed to extract riches from the earth. Without permit or claim they could be run off by the government, bigger mining companies, or slaughtered by banditos. Before long the old man’s words of warning about greed and mistrust set in and Dobbs, concerned about his share of the prize requests they begin dividing up the goods every night. Howard amiably acquiesces. Soon each man is hiding their share at night, lest they get ripped off by their partners. Howard seems to be the only one who retains a peaceful, logical, level head about the matter as he has seen this sort of thing many times before. Curtin regains his balance after he rescues Dobbs from a cave in, but Dobbs has become noticeably shaken by the discovery of gold. Dobbs mutters under his breath and talks to himself and exhibits apparent mistrust of the other two men.

More gold is being taken from the weary mountain every day and the beards grow thick on the three gringos and their clothes grow more tattered and dirty. Curtin returns from running errands in the nearest town and is followed by another would-be treasure hunter, Cody (Bruce Bennett). Dobbs will have no intruders to divide his share of the gold and convinces Howard and Curtin that they need to kill him, but they wind up needing all the guns they can get when a group of banditos who “don’t need no stinking badges” show up. Their leader (Alfonso Bedoya) toys with Dobbs before a desperate fire fight ensues.  Following this skirmish it becomes increasingly apparent that Dobbs cannot be trusted and has indeed sold his soul to the treasure of the Sierra Madre. Things only heat up when the team is separated. Howard is asked to stand in as medicine man for some Indians who have a little boy who nearly drowned. The pure-hearted Curtin is then left alone with the old man’s share of the loot and a crazed Dobbs (in full on greedy Daffy Duck mode). Betrayal, paranoia, greed, and violence all permeate from the scenes that follow. The film throws a few more shocks and shots of human and moral deterioration at us before it comes to a bittersweet conclusion that truly satisfies like a punch in the guts…but it tickles a little too.

This is a stand out film for the period. It is decidedly more dangerous and cynical. Huston and his amazing cast manage to conjure so many internal emotions and build so much tension in every scene. This film feels as hot and desperate as the three protagonists must feel. Real danger lurks in the shadows when a cluster of quiet Indians approach a campfire. Real terror prods one’s heart when the banditos show up and outnumber our “heroes.” There is suspense and devastation within each frame. There is an unflinching crazed look in Bogart’s eyes that continuously grows throughout the film and is difficult to shake. There have been many films about greed and the loss of humanity in the face of such greed, but perhaps The Treasure of the Sierra Madre is one of the finest examples of the subject.

It’s easy to see the inspiration P.T. Anderson must have gotten from this film for his own There Will Be Blood (2007). Anyone who only knows Bogart as the hard-boiled detective needs to see this film. From each characters’ shrouded uncertain background and their even further cloaked futures, this film develops its own greatness. We follow the lives of “fellow Americans who are down on their luck” and we hope they will overcome the maddening heat and the ecstasy of gold because we really journey alongside them. John Huston won Academy Awards for Best Screenplay and Best Director, losing Best Picture to Lawrence Olivier’s Hamlet. As a big fan of both Huston and Humphrey Bogart I cannot recommend this great film enough. The Treasure of the Sierra Madre is a truly unforgettable movie experience and amply worthy of its classic status.

Top 10 Reasons to See Treasure of the Sierra Madre

1. Humphrey Bogart plays against type and is awesome.

2. Great early location filming in Mexico.

3. Guys grow beards in it.

4. Considered a top ranking classic for many critics, film buffs, and directors.

5. It’s uncharacteristically bleak for the time it was made.

6. John Huston is a movie making beast.

7. It influenced many films to follow.

8. Bugs Bunny references Bogart’s Dobbs character in several cartoons (mostly the ones with the penguin who cries ice-cubes).

9. Walter Huston’s character is iconic and unforgettable—the quintessential crusty, old prospector guy.

10. Four Oscar nominations and three wins.

BONUS 11. The little boy next to Bogey in the first picture is Robert Blake.

picture references:

ign.com; tinypic.com; thecityreview.com; mattalgren.com

Originally published for “The Alternative Chronicle” July 20, 2010

The Inconsequentials

Somewhere there’s in immense list of all the movies you should see before you die. They are powerful, iconic, historic, influential, quotable. We call these movies “The Essentials.” Most of them you’ve seen or at least heard of; anything from Star Wars to One Flew Over the Cuckoo’s Nest. How many people know The Pink Panther (1963) with Peter Sellers? Now, how many people know Topkapi (1964) with Peter Ustinov? In an effort to preserve all of the iconic, unmitigated masterpieces from film history (which is a very good thing), we can sometimes forget the smaller, old films that might not exactly be considered “essential” viewing.

Personal feelings: I think Topkapi is a far superior heist comedy to The Pink Panther.

I use the term “inconsequentials” as a sort of joke, but I think it’s a shame more people are not clamoring for copies of West of Zanzibar (1928), Shanghai Express (1932), and White Zombie (1932). These are three movies that I personally love and I will tell you what makes them special and why nobody cares today. Join me as we travel from the deepest African jungle to dangerous Chinese railways and then into Haitian voodoo country on our tour of some of the “inconsequentials.”


Lon Chaney, Sr. is a gateway drug into the world of silent cinema. Chaney, Chaplin, Fairbanks, Sr., the whole lot. They pull you in. West of Zanzibar is one of those strange silent jungle melodramas, and if you have ever heard of this one it was because you are a die-hard Lon Chaney fan. It also has the added cult appeal of being directed by the great Tod Browning (Dracula, Freaks, The Unholy Three). Chaney is most famous for his roles in The Hunchback of Notre Dame (1923) and The Phantom of the Opera (1925). His uncanny ability to utilize makeup and physically painful-looking bodily distortions are what made him a legend of the silver screen. This film is a little different. Chaney wears no disguises. No clown makeup, no monster deformity, no Fu Manchu getup, no drag. Nothing. Chaney plays a stage magician of great prominence named Phroso. He is betrayed when his wife, Anna, cheats on him with his arch rival, Mr. Crane (played by Lionel Barrymore of Key Largo and It’s a Wonderful Life). When Crane announces that he is taking Anna away with him to Africa, Phroso attempts to stop him, but is thrown off the balcony and becomes paralyzed from the waist down. Later Phroso, now a paraplegic, discovers that Anna has died and so he vows revenge. Phroso moves to Africa to get Crane. Eighteen years have passed and Phroso is now the grimy “Dead Legs,” a strange witch doctor type guy to a primitive jungle tribe. He uses his magic tricks to frighten the natives of a nearby tribe…who happen to be under the watch of who else but Crane. “Dead Legs” kidnaps Crane’s daughter and tortures her to make Crane feel the pain he felt. *SPOILER ALERT* Well into the plot, “Dead Legs” learns that the girl he captured is actually his own daughter and that Crane has been taking care of her all these years, but it is too late to fix the damage he has done. He has killed Crane and his real daughter sees him as an evil murderer. To reveal his true identity at this point would destroy the girl, so he sacrifices himself to the natives to buy her time to escape into the night with her main squeeze.

The movie is dark, demented, and perfect for fans of Lon Chaney. He’s great at playing these deranged patriarchs, vengeful creeps, sympathetic deformed characters, and the subject of impossible tragedy and in West of Zanzibar he gets to play them all at once. The story is very pulpy and silly, but it’s a lot of fun and it has a wonderful exotic feel. The reason West of Zanzibar gets overlooked is because of the more popular films like The Phantom of the Opera and Dracula. The average person gets a sense of who Chaney and Browning are and moves on, never discovering their smaller films. Like I said, you’d have to be a real Lon Chaney geek or silent film nerd to seek this one out, but for my money it is well worth it even if you’re not.


Shanghai Express is an exorbitantly pulpy flick about women of sin, how much faith it takes to love someone, and a train on an exotic track with a rendezvous with the Chinese civil war. Marlene Dietrich (Witness for the Prosecution, Destry Rides Again) stars as Shanghai Lily, the most famous and successful prostitute in the orient (don’t worry, she’s not in yellow-face). When she boards the Shanghai Express with her friend and fellow woman-of-ill-repute, Hui Fei (played by the always fascinating Anna May Wong), everyone is perturbed by their presence. Several colorful and leisured characters are on board the train including a very outspoken missionary, an officer, a fickle woman, an opium dealer, an exceedingly gregarious gambler (Eugene Pallette, who always seems to be playing priests, The Adventures of Robin Hood and The Mark of Zorro), the shady half-Chinese Henry Chang (Charlie Chan himself, Warner Oland), and Lily’s old flame, the stoic British Captain Harvey (Clive Brook). Lily still has feelings for Captain Harvey, but Harvey is displeased with the life she now leads (although we sense he still fancies her greatly despite their 5 year separation). Can these two lost souls rekindle their dwindling romance? Moreover, will everyone get out alive after the train is stopped and they are taken hostage by Henry Chang who turns out to be a powerful warlord and rebel in the civil war? What makes this film work is the fun cast of characters, the steamy locations, the feelings of entrapment, the themes of faith and love…and revenge. I was only nominally with this film until the train got stopped. Then I was fully invested. The stakes are raised and the plot thickens. Murder, torture, sex, betrayal, the works. It’s amazing how much they got away with in those pre-code days.

Shanghai Express is pulpy fun. Most of the characters are fairly broad or rigid. I honestly don’t know how Captain Harvey and Shanghai Lily ever got together to begin with. The film also throws in random spiritual elements that don’t exactly seem to mesh, but it’s a good trip on a mysterious train that collides with danger and intrigue. Shanghai Express is filmed well and Eugene Pallette really livens things up and Anna May Wong delivers another dark and subtle performance that steals every scene she’s in. I love this movie for its simple but interesting story and rich atmosphere. The reason why this movie gets overlooked? Because Casablanca was a better movie. Plain and simple. Brooks can’t compete with Bogart, but Shanghai Express is still a great little movie on its own and should be celebrated more these days.


The last two films I talked about had a few things in common. They were pulpy, exotic, and atmospheric “inconsequentials” and my last pick is no exception. White Zombie might be a little more well-known for two very important reasons: a.) it stars Bela Lugosi (Dracula) and b.) it’s the first zombie movie. Many people regard George A. Romero’s Night of the Living Dead (1968) as the first zombie movie, but White Zombie has it beat by a good 36 years. Romero’s film changed the rules for zombie flicks and added social commentary, but White Zombie is all just for fun. Bela Lugosi plays Murder Legendre, an insidious voodoo master and owner of a Haitian sugar plantation. As you might have guessed, his Haitian slaves working the spooky sugar cane mill are actually zombies! Here’s the plot in a nutshell: Charles (a plantation owner) loves Madeleine, but Madeleine is in love with and getting married to Neil, so Charles goes to Murder for help. Simple. But!…the only way for Murder to make Madeleine love Charles is to make her into a zombie. So that’s exactly what they do, but Neil discovers his dead fiancee’s tomb to be empty and recruits the knowledgeable missionary, Bruner, and meanwhile Charles is regretting his decision for a zombie romance and Murder is actually slowly turning Charles into a zombie too! It all builds up to an exciting climax in Murder’s cliff-side castle. Zombies attack and spells are broken and there’s voodoo and people die and stuff and bad guy’s name is Murder! It’s fun.

Despite the relative cheapness of the production, White Zombie boasts some fantastic atmosphere and one of Bela Lugosi’s best performances. The scenes in the zombie sugar mill are spooky and deliciously atmospheric. The castle is great and the shots of the zombies assembling in the hillside cemetery are fun and a lurking Lugosi practicing voodoo in the shadows is  just great. It’s a slight movie (some might call it “inconsequential”), but I really love it. The reason you don’t see this one on a lot of lists is because of legendary movies like Dracula, Frankenstein, The Wolfman, and others that overshadow it. White Zombie has a fairly insignificant villain as far as supernatural antagonists go and it doesn’t seem to have been made with as much care…or money. All that being said, it’s a great bit of cheap horror and much better than The Creature From the Black Lagoon. It also makes for a delightfully inconsequential double-feature with The Vampire Bat (1933) starring Fay Wray (Doctor X, King Kong), Lionel Atwill (Doctor X, Captain Blood), Melvyn Douglas (The Tenant, Being There), and the always wide-eyed Dwight Frye (Frankenstein, Dracula, Bride of Frankenstein). (Incidentally the guy who directed the extremely “inconsequential” Doctor X just so happens to be Michael Curtiz, the guy who directed Casablanca. It all comes full circle).

 

One more film I must mention as I recently revisited it after several years and I am pleased to say it still holds up is Bluebeard (1944). Fans of John Carradine are probably quite familiar with it. Carradine plays Bluebeard, a puppeteer/painter/serial-strangler in 19th century Paris. It’s a delightfully low-budget yarn of the macabre.

As a lover of old movies it takes more than just the undeniable classics to appease me. Sometimes I like the smaller films just as much as the great ones. Don’t let the greats cast too long a shadow that they blot out the smaller film achievements. Use them as a reference point to find more movies from those eras. West of Zanzibar, Shanghai Express, and White Zombie may not be on anybody’s “essentials” list, but I’d say make room for these “inconsequentials.” You might be surprised by what you find.

picture references:

mubi.com

doctormacro.com

Originally published for “The Alternative Chronicle” Feb. 9, 2011.