WAOH TV-29 & WAX TV-35 – The Son Of Ghoul Show: 1951’s “The Hoodlum” (December 5, 1997)

hoodlum-1

I cannot believe this aired 19 years ago today. I refuse to believe this aired 19 years ago today! Where has the time gone?! (I discovered this information kinda late, which will account for the relative breeziness of this article.)

Recorded by yours truly in the early weeks of his Son of Ghoul fandom, this particular episode has become a personal favorite of mine. Maybe not so much because of anything it does itself (though it’s certainly a fun outing), but more because of where it all falls in my life, when the weekend promised a constant sense of discovery. I mean, not only did I get to indulge in this show that I had only discovered a bit over a month prior, but I also got to see totally new-to-me movies such as this, which, as a young film buff, was just like candy. Add in the Christmas season and the general mood of the time in which it aired, and it’s not too hard to realize I’ve got mad nostalgia for this one. (Further fueled by the fact that my brother and I got a Nintendo 64 for Christmas that year – cool winnins!)

From December 5, 1997, off of WAOH TV-29 / WAX TV-35, here is the low-budget 1951 film noir opus, The Hoodlum, as presented on The Son of Ghoul Show. (This also would have aired December 6, as the same episode ran on both Friday and Saturday evenings at that point, though I’m reasonably sure what I recorded here was the Friday airing.)

Now, there actually is a more-personal slant to this episode, one that ties in with something I brought up in my big huge 30th anniversary tribute article this past summer. We’ll get to that in due time, however.

hoodlum-2

I’ve been a Son of Ghoul fan since November 1, 1997, and yet, in all that time, the introductory segment for this episode may be my all-time favorite; it’s just so perfect.

Apparently they had run The Hoodlum before, and subsequently gotten complaints that their projector wasn’t centered correctly. Not so; the film was just severely cropped. To that end, during the introduction SOG drags out a piece of cardboard and draws a diagram to explain what the deal is.

According to him, the movie was originally 35mm, and much of the picture was cropped when 16mm television prints were made, which was what they had for the show. To demonstrate the differences between the two, he draws a drive-in movie (a poorly-attended one; “There’s one car there!”), gives a rough approximation of what’s now missing in the picture (the film doesn’t pan-and-scan; what’s in the center is it), and then proclaims the movie “The Oodlub,” which is pretty much the on-screen title here. He then finishes with a declaration of not caring whether viewers understand what he’s talking about or not, because he doesn’t really have to watch the movie. “They pay me to be here; what’s your excuse?”

It’s such a fitting intro, very funny but also kinda informative. To my 11-year-old self watching this back in ’97, I got a kick out of it. Still do, obviously.

hoodlum-3

He sure wasn’t kidding, either!

“A film noir on Son of Ghoul? Say what?”

Yep! While most of the offerings on The Son of Ghoul Show are in the expected horror and science fiction genres, he does occasionally branch out. Sometimes the show will feature comedies, mysteries, or, as in this case, crime thrillers. The Hoodlum was really my first glance at his stepping outside of the usual fare. Honestly, it wasn’t quite my cup of tea back then (though, needless to say, I was still smart enough to keep this recording), though in the years since, I’ve grown to really love film noir. Nowadays, this is right up my alley!

“The Oooodlubb—“

hoodlum-4

Elaine’s Dad Lawrence Tierney plays Vincent Lubeck, a convict and legit “bad egg.” Despite apprehensions on the part of the prison staff, an impassioned plea by Lubeck’s mother gets him paroled – and he almost immediately starts back up with the shady business.

Lubeck is an all-around scumbag; he causes his brother’s girlfriend to kill herself (after his brother has given him a job at his own gas station, mind you), but the main plot-point of the film is an armored car hold-up and Lubeck’s gathering of a crew for said hold-up. It doesn’t quite go down peacefully. Like I said, dude’s a bad egg.

Despite the extreme cropping, wasted print quality, and Son of Ghoul’s multiple declarations that the film is “trash,” I actually kinda liked it upon this latest viewing. It’s short and pretty cheap, but Tierney is terrific and the plot held my attention fairly well. The Hoodlum ain’t exactly the de facto film noir, but if you’re a fan of the genre, it’s not all that bad.

I could go on, but look, the movie is in the public domain and only like an hour, so just go watch it for yourself, okay? And, you’ll note the Internet Archive features a print with readable opening credits! Go figure!

hoodlum-5

Funny Son of Ghoul drop-in: Near the beginning, as Lubeck is being the warned the dangers of not staying on the straight-and narrow, a quick shot of ol’ sparky had SOG superimposed sitting in it, laughing like a mad man and actually plugging it in! Notice the door that was inadvertently (?) superimposed to the far-right of the screen; gotta love local TV!

That’s enough about The Hoodlum. I just don’t have all that much to say about it, and besides, it’s time for the important stuff…

hoodlum-7

The first skit of the night was an installment of Burn-Out The Dinosaur. For anyone questioning SOG’s sense of humor, these skits left little room for doubt: WARPED.

That’s exactly what these were, warped takes on Barney the Dinosaur, the big purple 1990s phenom that was second only to Urkel in inexplicable popularity. The premise of the skits was simple; generally, Burn-Out would manically laugh and abuse his co-host Brett. Brett filled the loving, caring, teaching role – one that wouldn’t have been out of place hanging with the actual Barney. Burn-Out was the insane half, and he came complete with a parody of Barney’s theme song, in which it’s proclaimed his mom is a streetwalker, his dad is in a bar, and Burn-Out himself makes a living by, what else, stealing cars.

In this installment, both Burn-Out and Brett are hungry for a late night snack, which leads Burn-Out to ask Brett if he knows what his favorite sandwich is. Why, it’s a knuckle sandwich, of course! The entire skit is basically an excuse for this little dinosaur puppet to pummel a grown man, even after Brett forgives him (because “forgiveness is an important part of life”). High art it ain’t, but then, it wasn’t supposed to be. Silly, funny stuff!

(Full disclosure: I still kinda like Urkel.)

hoodlum-8

Mail time!

When I started writing to SOG (I believe my first letter was read on-air shortly into the new year), these were the segments I anticipated most, for obvious reasons. The man himself, reading correspondence from me, on the air?! What could be better?

I had no such correspondence in the mail for this episode, but that doesn’t mean segment isn’t fun. Among the entries read on-air, SOG got a package from The Beatnik Termites (they’re still around, too), and a letter from someone in Florida that was somehow seeing the show, a comment which lead to the first of several jabs at the station’s power signal – apparently it was coming in pretty weak in some areas of Northeast Ohio.

BUT, it’s the third letter read that I find the most interest in. It’s basically a fan letter, telling SOG how much they love watching him, but the question of how they can find out where SOG is appearing in-person (answer: “WATCH THE SHOW!!!!” – it’s wild to realize this episode is so old, SOG didn’t have an official website or email address yet!) leads to the announcement of his double-feature matinee at the Highland Theatre (more on that in a bit), as well as…

hoodlum-6

The personal slant I mentioned earlier!

Yep, a week from that Sunday, SOG himself was there in-person at JC Comics & Cards! I was there! It was my first time meeting him! I. WAS. THERE. MAN.

JC was a big sponsor of The Son of Ghoul Show at the time, and his commercials were often seen during breaks (we’ll see one in just a bit here, actually). I was well familiar with the establishment already; it was nearby, I loved it, so yeah, I pretty much had to be there on December 14th!

Look, I went into further detail about this visit during the previously-linked 30th anniversary article, and I don’t really want to rehash it all over. Just go to the 30th anniversary post. Here, I’ll link to it again. I even have some photos from the event there! SOG was just the greatest at JCs, and indeed, I even talked about this personal appearance in the first letter I sent to him! See, this all connects, somehow!

(JC Comics & Cards is still at that exact spot; you should go there, because the place is awesome.)

hoodlum-9

Mr. Banjo was up next. Another long-running skit, the premise was supposed to be the titular character (a hillbilly stereotype, basically) presenting old novelty clips. Technically, he did just that. But, what these bits always ended up as was Mr. Banjo constantly yelling (and often threatening) his green-screened dog “Boner,” who would bark incessantly. Trust me, it was hilarious, and even today when SOG runs one of these oldies, they’re crowd pleasers.

This installment doesn’t stray too far from the norm, though a clip of dogs running on spinning wheels provides yet another shot at the station’s power signal (that’s how it’s powered, y’see).

hoodlum-13

Son of Ghoul-Zilla, a claymation bit in which a gigantic SOG rises from the sea and wrecks a city. Obviously a take on Japanese giant monster movies, with the cheesy special effects to match. This has been a popular short over the years; it gets regular airtime even nowadays.

hoodlum-10

An event that was being pitched all night. That coming Sunday, December 7, SOG was appearing at the Highland Theatre for a double-feature matinee. For only $3, you got to see two full-length feature films, though they weren’t exactly Spielberg: 1996’s Dead of Night and 1997’s A Woman Scorned 2 were the features that weekend. As SOG claims later in the show, they’re hard-R flicks, which explains the whole under-18-you-need-a-parent disclaimer spouted several times throughout the broadcast.

I’m pretty sure I saw Space Jam at the Highland, though I don’t think I’ve been back since. It’s really just down the street from Time Traveler Records, I could probably walk there, should I so desire.

hoodlum-11

With Christmas right around the corner, SOG was of course pitching his official t-shirt; at the time of airing, if you wanted one (or more) to get there in time for the big day, you had two weeks left. Afterwards, they were “discontinuing them,” at least for the time being. SOG has an especially-winning line here about getting them for “your offspring, or your fat hubby. Who could resist one of these after a pitch like that?!

It makes sense to promote these during the holidays, but what I find particularly interesting is the apparently limited nature of them at the time. T-shirts are big business for SOG nowadays, but back then, you had to act fast. According to the segment, they were only available in the large and extra large sizes, and again, they were touted as being discontinued for a time after the two weeks were up. Near as I can remember, that never quite came to pass, not for a lengthy period at least, but it’s interesting to look back on.

And no, that info in the screencap above isn’t still valid; you can contact SOG through his official website for current shirt options and prices, however. It’s amazing to realize that back in ’97, the only way to order a shirt was via snail mail, and nowadays it’s at the click of a button!

hoodlum-12

The show finishes with the reiterating of the upcoming personal appearances, and then SOG busts wild moves as the end credits roll, which is really pretty awesome.

Ignoring that whole personal slant thing, it may be hard for some readers to understand why I’m so fond of this episode. After all, it’s solid, but more or less just a regular entry. And, the movie featured won’t raise many eyebrows. But, I think because it’s such a good, solid episode is the reason I’ve grown so fond of it. It’s a great example of how The Son of Ghoul Show was formatted at the time, and for me, so early on in my fandom, when I couldn’t wait to discover more of this stuff each weekend, this recording takes me right back. It’s December 1997, I’m 11-years-old, sitting on the couch, watching Son of Ghoul and anticipating Christmas all over again. A powerful blast of nostalgia this one is, for sure.

Plus, the movie wasn’t too bad, either.


And that brings us to the customary commercials section of the post. As usual, I like to recap some of the more interesting ads that aired during a respective broadcast. In this case, there’s a lot here that further fuels the whole nostalgia trip I’m currently on. Considering SOG is commercial-free nowadays, it’s a bit surprising to look back at a time when his show was pretty jam-packed with advertising.

Anyway, I’m not going to look at a ton of the ads from this broadcast, but I do have a few…

Quaker Square Christmas Village Ad

hoodlum-15

Saaay, wasn’t I just at Quaker Square? I sure was!

Quaker Square Christmas ads were all over this airing. Mostly, their animatronic Christmas village was spotlighted, though time was also given to showcase the Square as the ideal holiday destination station, with places to shop, eat, etc. So, yeah.

I want to say I visited the Christmas showcase around that time. I was somewhere with animated mannequins (or whatever), though I can no longer recall if it was Quaker Square or not. Still, the local Akron Christmassy-ness of this ad hits home for me, so even if I wasn’t there exactly, it still rates pretty high on the nostalgia meter.

Princess Diana Commemorative Stamps Ad

hoodlum-16

With Princess Diana’s death only a few months before, people were obviously still reeling. To that end, what better gift to celebrate her life than a commemorative stamp set and medallion for only $20? Because that’s exactly what this ad was for. Not exactly a solid fit for Son of Ghoul’s comedy, but hey, a sponsor is a sponsor.

This is the kind of collectible that was made to be collectible, and thus it’s probably worth like negative 32 cents nowadays. Or not, I don’t know. I certainly remember the (understandable) media frenzy surrounding her death, and while I don’t know this for sure, I’d imagine there were probably much less classy attempts to commemorate her than this. So, if you had a Diana fan on your Christmas list, I guess this wouldn’t have been a bad choice.

WAOH TV-29 / WAX TV-35 Happy Holidays Bumper

hoodlum-17

One thing I always liked about WAOH / WAX (“The Cat”) was that the station had a strong local flavor. Obviously that was to be expected with them being a local independent station, after all. But, watching The Cat, it just felt like Akron; there weren’t many (any?) other stations at the time, or now, that I can say that about. It’s a thought that makes me miss the late-1990s and early-2000s Cat all the more.

In that local vein was this quick, simple “Happy Holidays” bumper, in which a voiceover wishes the viewer just that, while a stereotypical Christmas scene of Santa in a train resides in the background. I don’t know what it is about this exactly, but it just seems so right, so Christmas 1997 in Northeast Ohio.

WAOH TV-29 / WAX TV-35 WWF Shotgun Promo

hoodlum-18

Professional wrestling was big, big business in the late-1990s, and while I can’t claim to have ever really been on that train (though I liked Hulk Hogan when I was younger – but then, who didn’t?), I certainly remember the massive hype surrounding all things wrestling at the time. Heck, for quite awhile, ECW actually followed Son of Ghoul on, I think, Saturday nights.

So anyway, The Cat managed to get the syndicated WWF Shotgun program on their roster, airing twice a week in an “okay” Tuesday night time slot, and a “screw that” Saturday afternoon time slot. Aside from Shotgun being ostensibly edgier than ‘normal’ WWF, I can’t say a whole lot about it, since, you know, I never watched wrestling. Nevertheless, this edginess is demonstrated via a promo featuring a lot of herky-jerky scenes and punctuated with effects not unlike those of a VCR fast-forwarding. Edgy.

So, The Cat had some WWF (back when it was the WWF) in 1997, and that’s something to be celebrated, right?

JC Comics & Cards Christmas Ad

hoodlum-19

See, told ya we’d see JC Comics & Cards again!

There were several JC ads seen on The Cat, and SOG specifically, over the years. Near as I can tell, this one is the earliest, or at least the earliest I captured. In it, set to the tune of squirrels singing something Christmas-related, a Santa runs around the store, playing with toys, picking out shirts, and other “this is where Santa goes for his gifts” imagery.

Above left: Santa plays with a Millennium Falcon toy, which is fitting, because JCs was the place to go for Star Wars toys in the late-1990s, especially the vintage ones. To an 11-year-old, it was mind-blowing seeing that amount of old, rare Star Wars stuff all in one place. And his box of $3 loose vintage SW figures? I was all over that whenever I went in.

He still has tons of great rare comics, imports, collectibles, and so on. I wasn’t kidding earlier; if you’re anywhere nearby, you owe it to yourself to check JCs out.


Alright, enough.

As I mentioned during my intro to this post, this article is breezier than usual. I had been mulling over a post on this broadcast for awhile anyway, and when I deduced the original air date and realized the 19th anniversary was right around the corner, I just didn’t have a ton of free time to put it together. So, I apologize if this feels like a dash-off. It certainly wasn’t intended to be. It was either that or wait until the 20th anniversary. ‘Course, I didn’t have to post on the actual anniversary date, but that’s something I like to do whenever possible.

Still, I think you can get a pretty good taste of what made up my Friday (and Saturday!) nights at the time. Even though I taped countless episodes (which I still have), and even though Son of Ghoul is still on-the-air, I don’t know, there’s just something about going back in time and reliving when I was first being introduced to all of this. And when it comes to momentarily regaining that feeling, this episode is one of my favorites. For yours truly, it hits all the right bases; boy am I glad I had the foresight to record all this stuff back in the day!

R.I.P. Jim Chenot

When I woke up today, I was hit with news I hoped wasn’t true, I still hope isn’t true, but sadly is true: Northeast Ohio has lost one of the nicest, funniest, most genuine personalities it ever had or ever will have, Mr. Jim Chenot.

Jim was a fixture on Northeast Ohio radio, from his days on WONE 97.5 to the present with his tenure at 91.3 The Summit. Not only did he feature a vast store of musical knowledge, but he was genuinely funny, a true class act, a complete professional, and thus was an utter joy to listen to.

He was also my friend.

I first met Jim Chenot at Time Traveler Records back in, man, I guess it was 2011. The earliest conversation I can recall was talking Springsteen with him. With us both being fans, an instant camaraderie was found. The fact that we shared a similar, non-sequitur sense of humor didn’t hurt, either.

Five years ago yesterday (!), my brother and I were set to be guests on Jim’s popular Radio Sandbox program. Unfortunately, the very night before, November 29, I had a serious accident at where I then-worked. While I was home and technically ready to go on November 30th, I was still kinda doped up and, frankly, not in the best of spirits. To my everlasting regret, I had to pull out of the spot at the proverbial last minute. And yet, Jim could not have been any nicer. His genuine concern and understanding made my situation a bit more bearable. But then, that was just Jim; he was like that with everyone.

We intended to do a make-up date on his show, but unfortunately, our schedules never aligned. That didn’t change the fact that I looked forward to his regular visits at Time Traveler. Whenever I saw him coming in through those doors, I knew we were in for some fun.

I am just completely shocked, saddened and sickened by this news. I don’t know really what else I can say, other than the world is going to be just that much more worse-off without Jim Chenot in it.

R.I.P. Jim, you will be missed.

Ghoulardifest 2016!

“Hey, why’d it take so long to post this, North Video Guy?!”

I know, I know, this is a belated update. For the fourth year in a row, it’s time to cover my trip to the annual Ghoulardifest convention on this silly blog. BUT, I didn’t want to just do the same exact thing I’d done for the previous three re-caps again. Soooo, I took video there. Oh how I took video. A first for this site!

Now theoretically, videos should have made getting this post up quickly even easier, which would totally be in line with my usual M.O. of posting these reviews within a day or two, or at least the week of, my visit. So, why did it take so long this time? Simply put, I had audio issues with several of the videos – to the point where I couldn’t even use them. Don’t get me wrong, I could have posted them here, but I like to give the impression of having some semblance of professionalism (HA!), and thus, I just wasn’t comfortable with doing that. Heck, even the videos I can use aren’t always perfect, audio-wise.

You have no idea how incredibly disheartened I was by this. Seriously, more than once I came this close to just scrapping the whole re-cap this year; I just couldn’t work up the energy to write after this development. I felt (and feel) that I was letting the people down that were kind enough to take the time to film with me – but then, the same feeling applied to putting up a substandard video, too. So, since I can still use screencaps (where needed), I will cautiously proceed. Just several weeks late. (It didn’t help matters that I’ve also been fairly busy these past few weeks.)

All that said, if you were someone I filmed with whose segment is absent here, please accept my apologies; fate dealt us both a crushing blow!

ghoulardifest-2016-14

Sunday, October 30, 2016: I woke up tired. I mean, your pal me was draggin’. Y’see, I awoke to a chilly, cloudy, rainy day, and while I love a good overcast weekend, in this case I knew such things would never do. Add in not enough sleep, and a bedside clock that had reset due to a brief power outage during the preceding night, and, well, it wasn’t an auspicious start to my day.

Why the grogginess? Because the day before was bright, beautiful, and fairly warm for this time of year. In short, it was gorgeous. But, unfortunately, when the weather changes, especially when it changes rapidly, I have a habit of getting the grogs. In those instances, I rarely feel like doing much of anything. And yet, this particular Sunday, I would accept no groggin’. Well, I mean, it was there, but I did the best I could to ignore it.

That’s because it was time for Ghoulardifest! Yep, Big Chuck & Lil’ John’s annual convention celebrating the Cleveland icon was once again upon us, and like every year since 2011, I was there for the Sunday edition. I look forward to this year-round, but especially when fall hits Northeast Ohio; the season just wouldn’t feel right without the ‘Fest!

Like the previous three years, the convention was held at the plush LaVilla Conference & Banquet Center. My photo above makes it look inappropriately foreboding; overcast day and all. Trust me, the LaVilla is beautiful.

Since the inception of this blog, I’ve covered my annual trip to the show. For those so inclined, you can check out my coverage of the 2013, 2014 and 2015 shows here. You can watch my writing skills gradually increase! Or, read ’em backwards and watch my writing skills decrease! It’s fun for the whole family!

ghoulardifest-2016-4

There are some downsides to only going on the third (and last) day of the convention. Jan Jones, Tim Taylor and Robin Swoboda, local legends all, were in attendance – on Saturday. Also, I missed my buddy Mike Olszewski, which hurts me deep. Furthermore, the Cavs Championship trophy was supposed to be on display all three days, but if it was there Sunday, I sure didn’t see it.

(Fun fact: I played basketball, poorly, in the fourth grade, and I later went to high school with LeBron; my first two years were his last two years. So, do enough mental gymnastics and you can pretty much thank me for the Cavs winning it all! You’re welcome, Cleveland! I will now sit back and anxiously await your accolades!)

‘Course, that’s not to say there’s nothing going on by the last two day; there’s cool merch and celebrities as far as the eye can see no matter what day you attend. As expected, my brother (who always comes with) and I had a terrific time – and yes, I’m already jonesing for next year. If my merchandise haul was substantially less than previous visits (and it was), it was only because I’d bought most of the stuff that strikes my fancy already. And yet, I left satisfied nevertheless; Ghoulardifest, no matter what you buy, who you meet or what you do, is always an experience, and this year was no exception.

Above: The ever-terrific shirts table, which lines a good portion of the left side of the main room. One of my top favorite buys this year came from these tables; we’ll see that momentarily.

ghoulardifest-2016-7

Like other similarly-themed conventions, there’s memorabilia everywhere you look. Toys, games, records, CDs, DVDs, movie posters, glassware, you name it, there’s a good chance it’s there.

Indeed, as I’ve mentioned in previous re-caps, Ghoulardi is really just one facet of Ghoulardifest; obviously Ernie Anderson’s legendary horror host and Big Chuck & Lil’ John are the main draws, but Ghoulardifest is also a celebration of horror and sci-fi in general, horror hosts as a whole, music (particularly 1960s music; The Beatles and such), and other areas of pop culture. Even if someone wasn’t enamored by the main draws (yeah, right), there’s still plenty to take in at Ghoulardifest.

Above: My attempt to show off the various wares in one all-encompassing shot. I wasn’t at all successful, but you can see the kind of cool stuff available there. I’m diggin’ that Addams Family 45!

That’s my brother photo-bombin’ to the far left. Thaaaaaaanks Luke.

ghoulardifest-2016-6

Aww, Son of Ghoul, you wacky guy! It continuously blows my mind that the guy I grew up watching now kinda sorta knows me – thanks in no small part to all the crap I’ve sent to his show over the years. Plus the interview. Plus Monsterfestmania. So, is it too early to go around proclaiming him my best friend in the whole wide world? That might be a bit premature, but I am considering it….

ghoulardifest-2016-2

I’ve mentioned this before, but one thing that endlessly impresses me about our local celebrities is just how fan-friendly they all are. These people not only give their fans the time of day, but also truly go the extra mile for them. Son of Ghoul, absolutely, as well as Big Chuck & Lil’ John, who you are helpfully seeing above.

Case in point: They (naturally) have helpers, but these guys all sell their own wares themselves, and they all are very free and giving with their time, answering all questions, taking pictures, and so on. Northeast Ohioans are fortunate to call people like this their own.

Much to my chagrin, Chuck & John had sold out of their new “Top 20 Skits” DVD that very morning, which was a fan-voted project. (Yes, I contributed my picks.) I was really looking forward to picking up this DVD, but I knew it was going to be a hot-ticket item, so what can you do? I thought about throwing a tantrum, until I remembered that Big Chuck & Lil’ John are two of my heroes and that probably wouldn’t look too good to them.

Speaking of Big Chuck & Lil’ John…

I totally filmed a quick, mostly off-the-cuff bit with them! This, needless to say, ranks up there with the proudest achievements of my life.

Backstory: The video doesn’t lie; Big Chuck has endorsed the Empire Window Company for quite awhile. The commercial for them in which his Stash character falls from a ladder is positively ingrained in my memory, and that ad goes back to at least 1991 – and it certainly aired for a long time afterwards. So, when print ads featuring Chuck began showing up in the mail a few years ago, I really did begin cutting them out and saving them. It started out as just a funny thing to progressively hang more and more of on the fridge, but after awhile, the action became something that felt more like a duty. Result? I have a ton of these, far more than what’s seen in the video.

Eventually, the joke arose between my brother and I that it would be funny if I brought them all up to Chuck and asked him for a free window in exchange, though of course these ads aren’t coupons, and no such offer actually exists anyway. And thus, the genesis of this bit was born. I naturally briefly explained to Big Chuck & Lil’ John what I wanted to film beforehand, but it was more of an outline than anything, and truth be told, I only expected a quick, few-second video – which would have been more than enough for me. But MAN, these guys are total pros; they just completely took the idea and ran with it, and absolutely brilliantly at that!

Because the last thing I ever want to do is step on anybody’s toes for any reason, prior to posting I did indeed contact the Empire Window Company to make sure everything would be fine with them regarding this bit. They simply couldn’t have been any nicer; no kidding, they were just wonderful. The Empire Window Company gets my legitimate, heartiest recommendation. If you need windows, siding, doors, or what have you, head to the official Empire Window Company website!

Some of the dreaded audio issues I mentioned at the start of this post reared their head here. Not so much in the Chuck & John portion, but rather, I wasn’t quite happy with my intro on the video. I had to take whatever measures I could, and therefore, you’ll notice (especially since I outright say so) that I dubbed over the audio in the first half of the video above. It was necessary, and while a bit glaring, I don’t think it hurts the final product; indeed, nearly a month later, and this bit still cracks me up! Some way, somehow, this happened!

ghoulardifest-2016-20

Unfortunately, no amount of dubbing could save my bit with Son of Ghoul, and thus, you only get this screencap. This hurts me deep.

The premise was that SOG knows me, we’re pals, we’re tight like Gs, and therefore when I go up to him, it’s like two old friends meeting. Of course, the punchline is that SOG has no idea who I am, he stares at me blankly, and then calls for security to throw me out. It’s the funniest thing in the world, and I can’t use a second of it.

It should be mentioned that these audio issues weren’t really a fault on the part of me or my brother, who was filming. Maybe I could (and should) have spoken up a bit here and there, but the main thing was that it was just loud in there. This was not a fault of the venue or anyone else, but between the live music and the crowd, well, it all tended to drown out the microphone of my brother’s cellphone. But, it is what it is.

ghoulardifest-2016-23

Same deal when I semi-interviewed Jungle Bob Tuma. (His official website) Like Son of Ghoul, JB knows me, we’re buddies, and it really, really pains me that I can’t use this video. We even stepped out into the hallway for this, and yet, you can still hear the music inside more than us. Again, it’s not anybody’s fault, it’s just how things worked out. Had this been in a more-controlled environment, the results would have been different, but when you’re filming things on the fly, well, you take your chances.

This was less of a skit and more of a chat; JB explained why he didn’t bring any animals on this last day of the show; it being the final day, and there being celebrations afterwards, it just wasn’t a good idea to bring them, especially if they’d need to be left in the car after the show. (I made a crack about winding up with a deep fried tarantula if the animals were brought into the restaurant that was practically Letterman-worthy… or not.)

You know what’s awesome about Jungle Bob? If you watch him on The Son of Ghoul Show or catch one of his appearances, he’s just as engaging in-person as he is during his performances. The man is a born entertainer, and besides being wildly informative about animals, he tells absolutely great stories. Jungle Bob is the man.

ghoulardifest-2016-22

I loved doing this one, so of course I can’t use the video. Do I sound like a broken record much? I don’t like it either, bucko.

I was excited, and more than a little nervous, to film this. Why? Because even if this was my first time filming at a convention, I at least have some in-person experience with pretty much everyone involved. BUT, as far as The Mummy & The Monkey go, I first met them at last year’s Ghoulardifest. They were absolutely wonderful, of course, but still, I was nervous about asking them to film. Also, don’t forget, I was draggin’ and not exactly on my A-Game that day. (And my A-Game is probably like most people’s C-Game, anyway.)

I needn’t have worried. Janet “The Mummy” Jay and James “The Monkey” Harmon were terrific. Some funny wordplay (I kept trying to remember which is The Mummy and which is The Monkey) led to the natural progression of where the people can see them. It wasn’t a particularly long video, but we covered a lot of ground, and to me, it was all marvelously entertaining.

But, the best part about talking with them wasn’t even captured on film; afterwards, we had a discussion about old tapes and cool winnins and so on. It was a gratifying (and almost-totally-new-to-me) feeling to actually talk with people that understood the same things I do. Also, it’s funny that I didn’t even really comprehend I was talking Betamax with a guy in a gorilla mask; it must have been wildly surreal to anyone overhearing our conversation. Or not, I don’t know.

Hey, another real, actual video! It’s about time!

My buddies from Monsterfestmania, Mike Mace and Dave Binkley, were on hand to promote their show, The Weirdness Really Bad Movie. Even though I had met them in-person just a few months prior, this really was like an old-friends-catching-up sorta thing. It was great. Let the video above tell the rest of the story!

Fun fact: Mike himself was on American Pickers just this past week! Cool winnins!

ghoulardifest-2016-21

This was certainly the wildest video I took. The screencap just doesn’t do it justice.

What started out as a chat with Bill “Greatest Voice Ever” Ward (he was the WJW TV-8 announcer for years) quickly devolved into just a general screwing around when Teri Wells, daughter of Bob “Hoolihan” Wells popped in. It was an absolute riot, climaxing in Ward’s dead-on Clint Eastwood impression. And Teri was just the nicest.

Unfortunately, this more than any other video was hurt, audio-wise. Due to the activity around us, large chunks of it are incomprehensible, and to make matters worse, poor Teri had laryngitis. It’s a real shame, because it was fast, funny and freewheeling.

That said, if you ever have the chance to speak with Teri Wells or Bill Ward, do so, because man they are just great.

A quick bit with Bob “Hoolihan” Wells!

Unlike previous years, we wound up staying at Ghoulardifest until pretty much the very end. There was much to see and do, not to mention filming videos, that it took a whole lot more time than I was anticipating. Still, I was able to catch up with Hoolie just as he was getting ready to go on stage for the show-closing group photo. It’s a brief video, but it’s awesome. Why? Cause Hoolihan.

Backstory: During the old “Soulman” skits from The Hoolihan & Big Show, Wells was always the narrator, and oftentimes he’d let out a great, dismayed “Ohhhhh Noooooo!!!” that I endlessly love. Thus, I asked him to give me one such “Ohhhhh Noooooo!!!” there in person, but because we were in such a hurry, I forgot to reference what I was talking about! You can see my kinda-goof in the video above.

Even though he doesn’t live in Northeast Ohio anymore, just like everyone else involved in this sort of thing, Bob Wells is always the nicest, most generous guy you could hope to meet. He’s good people!

ghoulardifest-2016-12

Because we were there to pretty much the very end, we were able to witness the convention-closing group photo; a wonderful moment. I fought the urge to go onstage and join them, though the confused looks of all involved would have almost made up for the undoubted subsequent escort to the parking lot by security… almost.

ghoulardifest-2016-15

And yes, we did indeed stop by the nearby Big Boy for the annual post-Ghoulardifest meal. Super Big Boy, you are a burger among burgers. And the fries! I’m not a big fry-eater, but Big Boy’s are always fantastic! Also, our waiter was phenomenal and got a well-deserved monster tip.

Look at that pic above. Big Boy has no qualms with the oncoming rain. Dude’s been around forever; you think a little water is gonna phase him? Nope!

ghoulardifest-2016-18

Like I said before, my merchandise haul was substantially less that previous years. That doesn’t mean I didn’t pick up some cool winnins though, cause I did.

Above: Another Son of Ghoul DVD to add to the collection (The Death Kiss), a Ghoulardi bumper sticker (at a buck a pop, I bought a few), and a Big Chuck & Lil’ John mug I’m this sure I don’t already own. Not that you can ever have too many, of course.

ghoulardifest-2016-19

But this, this was the big buy of the year: A Ghoulardi shirt celebrating the Cleveland Cavaliers’ monumental win in the NBA Finals! I’m a huge Cavs fan, so I flipped when I saw this! Forget buying just one; I bought two! One of the faces of Cleveland, pitching the historic win that was a true victory for all of Northeast Ohio? It does not get any cooler than that! I like wearing sports shirts, and I like wearing Ghoulardi shirts, so this was directly up my alley! I love it.

ghoulardifest-2016-13

And with that, the Ghoulardifest 2016 re-cap comes to a close. Was it worth the wait? I think so! Well, I hope so. I’m ready for Ghoulardifest 2017, either way!

Until next year, LaVilla! (Hopefully, the weather will be more fitting for the event!)

Amvest Video’s Grampa Presents VHS Series: 1968’s “Night of the Living Dead” (1988)

Happy Halloween!

It’s here! The big day! Halloween! It comes but once a year!

Now, some of you are out trick-or-treating, some of you are out partyin’, and some of you are watching the appropriately “spooky” movies. Heck, you adventurous-types will quite conceivably get around to all three before the day is out.

But it’s those of you in the 3rd camp that I identify with most. I haven’t trick-or-treated in years, and even when I did, I could never find a costume I really liked and/or a mask that I could stand wearing for longer than 3.7 seconds. And parties? People generally annoy me too much to make me want to go to one of those. (Plus, I don’t know anyone having one.)

But movies? And while we’re at it, Halloween-themed TV in general? That gets your pal me in the holiday spirit! And man, I have found a tape that exudes that Halloween spirit so overpoweringly, they may as well have created the holiday just so it could exist. And the thing is, it’s not even specifically tailored to Halloween. No, this one just hits all of the horrific hallmarks, and it hits them perfectly.

I now present quite possibly the be-all, end-all release of the perennial Halloween movie, 1968’s Night of the Living Dead. Yes, the film has been released on home video countless times since pretty much the dawn of, well, home video. But this, this version, this is the zenith, the peak, the ultimate. Put out by Amvest Video in 1988, it took 10 years of video releases to do the movie right, and despite all the restorations and remasterin’ and whatnot the film has endured since, I dare say they’ve all fallen short of attaining the sheer magnificence that Amvest managed. This was lightning in a bottle, baby. Or something like that.

Behold!

amvest-night-of-the-living-dead-vhs-10

*Cricket Chirps*

“…So what, North Video Guy? It’s just another old VHS release of Night of the Living Dead!”

NO IT’S NOT AND HOW DARE YOU SUGGEST OTHERWISE. Okay, fine, sure, it looks fairly ordinary – on the surface. Upon first glance, you may very well be tempted to immediately write this one off as just another cheapie video release of the immortal fright flick. Heck, had I not known better, I may very well have done the same thing. You don’t get the whole picture from the cover art alone, is what I’m saying.

Not that I’m not saying the cover art is bad, mind you; indeed, you can’t go wrong using the fantastic original poster for your VHS sleeve. Granted, Amvest wasn’t the first nor last video company to use this original artwork, or at least a portion of it, but considering the sheer number of other, amateurish lookin’ releases out around the same time, this one does look decidedly more competent than many.

The original poster art was black & white, so Amvest (or someone) added some color to make things pop. Remember, video rentals were a big business at the time, and if you were going to put something on those shelves, you had to make it really jump out towards the prospective renters as much as possible. Plus, when you’ve got like 9000 VHS versions of the same movie competing against each other out there (we looked at one of ’em before!), well, details such as that could very well make the difference between a rent/sale, or continued shelf-languishing.

Look, all I’m trying to get at is that the cover art looks good. And, if nothing else, it doesn’t totally give away the ending like one VHS release from around the same time did. (That still astounds me; you’ve got 90 minutes of film to choose a screenshot from, and you go with the ONE scene that ruins the whole thing. But, I digress.)

Okay, so upon first glance, it seems this is a competent but rather unremarkable VHS release of Night of the Living Dead from the 1980s. Not a bad way to spend an old-school Halloween night, granted, but where does the magic come in? Why all that hype during my intro? Well, I presume you read the title of this post, didn’t you?

Yes, this tape was part of the Amvest “Grampa Presents” VHS series, and thus features Al “Grampa” Lewis hosting what is quite possibly the greatest horror film of all-time. Cool winnins! If this don’t don’t get yo’ Halloween spirits fired right up, well then I just don’t know.

“W-w-well where’s Grampa then, North Video Guy?!”

For those of you paying attention (all two of you), this series of tapes is one of my favorite subjects on this blog. Indeed, this will be the fourth (and, I hope, ultimate) article detailing them. As we saw a few weeks ago, these Grampa Presents tapes usually had Lewis’ visage and other appropriate hoopla plastered on them, but that didn’t necessarily mean he’d be on the tape. Well, as we’re about to see, it works the other way too, bucko.

amvest-night-of-the-living-dead-vhs-12

This post today is the ultimate culmination (blog-wise) of what began last Halloween. As you’ll recall (maybe), last October 31st is when I first looked at one of these tapes. I had long been intrigued by them, and I made a concerted effort to not only finally add one to my collection, but also to review it for that Halloween day. As I’ve semi-jokingly grumbled about time and time again, these Grampa Presents videos were strictly budget affairs (VHS releases that, back then, you’d typically find for around $10 – or less), and that first tape, a copy of 1939’s The Human Monster, demonstrated this aptly; it was duplicated in the LP recording speed, but on a tape with only enough to fit something in the EP speed. In other words, the tape ended before the movie did.

After that wacky little mishap, rather than turn me off the whole thing, I was only further intrigued by the series. Not only because I was begrudged a whole movie/show/whatever the first time around, but also because no one was/is quite sure just how many installments were actually released. I’m going to explain further in a bit, but rest assured, until I got this tape, Night of the Living Dead was one of the ones I wasn’t convinced existed. At least not with Grampa on the premises.

So anyway, that Halloween post last year gave way to my New Years post this year. There, with a (complete!) copy of Grampa’s The Corpse Vanishes added to my collection, I posted what I wanted to write the first time around; an insanely in-depth review of not only the tape itself, but also a look at this Grampa Presents series as a whole. While I wanted all that to be the final word on the subject, I’ve learned more since then, and frankly, Grampa hosting Night of the Living Dead is so unabashedly awesome, methinks I’m allowed to tread over some of the same ground again. And even if I’m not, I’m gonna; it’s my blog and I’ll do what I want.

(I have a feeling this review is going to get around more than my earlier posts on the series, so I really will be treading some familiar ground here; this is aimed at those new to the subject, so you longtime readers, please bear with me! For many, this will quite possibly be their first look at this obscure video series.)

If you read any of my three previous Grampa Presents posts, you’ll notice that the sleeves feature, you know, Grampa. This series started in 1988, and his caricature and quirky lil’ rating system were supposed to adorn each of the respective tapes, though they were inexplicably left off some. But, that’s not when Amvest/Vintage Video/VideoFidelity/whoever (there’s a lineage of divisions/names, but for the sake of ease, it’s all Amvest to me, okay?) first started releasing movies on VHS; that goes back to *at least* 1985, as you can see in the copyright info above. Their output featured a wide range of genres, and when the Grampa series started in ’88, they just took the appropriate horror/sci-fi titles already released, kept the same catalog numbers, and later ostensibly re-released them as part of the Grampa line.

I say “ostensibly” because prior to finding this tape, I was dubious that any of those earlier titles had actually been later “Grampa-ized” in any way, and I had obtained several ‘plain’ titles that bore that out. I’ll explain further later.

For now, this tape, it has the appearance of one of those ‘plain’ 1985 Amvest tapes. Unlike the decidedly budget-looking qualities of the ’88 releases, these ’85 tapes were, outwardly at least, similar to the Goodtimes and Congress Video products of the era. Even the font and general layout is similar.

Though, I find the summary on the back…kinda strange. That “Look out earthlings!” opening line misleadingly makes this seem like it’s going to be an alien invasion saga. And that whole radiation explanation? That was a theory presented in the film, but the actual cause was basically left unanswered. I object to the “sci-fi thriller” genre labeling (it’s a horror movie!!), and the statement about taking “the horror movie cult by storm” is oddly worded at best. Also, it’s “flick.”

(Also sorely, sorely missed? The “Grampa’s Ratings” feature from the sleeves that were specifically tailored to Grampa Presents entries. How many bats would this film have gotten? Hopefully, all of them.)

Aw, does any of this really matter? Budget Night of the Living Dead releases were no strangers to oftentimes ill-fitting summaries on the sleeves, and besides, we’re about to see what makes this a candidate for greatest home video release of anything ever…

amvest-night-of-the-living-dead-vhs-1

GRAMPA!

When I purchased this tape, I naturally had my hopes, but from all outside appearances, I figured this was going to be a ‘regular’ Amvest release. Which, hey, if my previously-held theory that this was one of the titles that never had Grampa grafted on held true, this was at least as close as I could get. The catalog number was matched if nothing else, and besides, none of these Amvest tapes, Grampa or otherwise, are easily found. This particular release of Night of the Living Dead proved to be exceedingly rare; indeed, the first copy I saw for sale is the very one we’re looking at this Halloween day!

So, I get the tape, I have to rewind it, I start it at the beginning, and duly proceed to flip my beans. The second the familiar (to me) Grampa intro appeared, I was pretty much already proclaiming this to be the all-time crowning achievement of home entertainment. Look, y’all can watch your mega-deluxe remastered Blu-ray copies of Night of the Living Dead all you want, the fact remains that they (probably) don’t open with a bat being “zapped” by lightning and transforming into Al Lewis, who then continues to flap his arms around appropriately, and all in front of a green-screen (blue-screen?) with generically spooky music in the background. Therefore, this release is clearly the superior choice…if you can find it, that is.

Al Lewis’ famous Grandpa Munster character was going through a resurgence of sorts in the late-1980s and early-1990s. ‘Course, he didn’t go by that moniker, it being copyrighted and all. Thus, the “Grandpa Munster” name gave way to a simple “Grampa,” which was how he was often billed in his post-Munsters endeavors. Everyone knew who he was supposed to be, anyway.

Among his many ventures during the time-period: Starring in a (thematically) similar horror host-showcase for TBS, 1987-1989’s Super Scary Saturday. Also, having his own Atari 7800 game, 1990’s Midnight Mutants; even when ignoring my fondness for Lewis, it’s my pick for best game on the system (and along with Double Dragon, easily my favorite).

Heck, dude even had his own NYC restaurant for a few years. Fun fact: I’ve got a matchbook and a take-out menu from said restaurant in my collection. They make me feel like a big man.

So, these Amvest tapes were just another part of that career resurgence. Even though they seem to have gotten a promotional push by Amvest at some point (well, promotional buttons were made up, anyway; I’ve seen one, they exist), the overall distribution was so limited that they’ve wound up fairly unknown in this day and age. As I’ve stated in my other articles on the subject, these videos range from “highly obscure” to “impossibly rare” (and I’d say this entry definitely falls towards the rarer side of that scale), though truth be told, regardless of rarity they all seem to average around $20 to $30 used. Sometimes even less. Look, these Grampa Presents tapes are worth more than, say, that old VHS copy of Jurassic Park floating around your basement, but in the grand scheme of things, they’re not that valuable.

They are undoubtedly cool, however…

amvest-night-of-the-living-dead-vhs-2

These weren’t the first tapes to introduce direct-to-video horror hosting; Elvira’s Thriller series was (near as I can tell) the one to kick it all off, back in 1985. (Remember when we looked at Elvira’s VHS hosting of The Cyclops?) Those Thriller tapes were pretty major releases; big, eye-catching boxes, high quality SP recordings, and Elvira at (or very near) the peak of her popularity. In some ways, this Amvest series feels like the budget answer to those Thriller videos, though they probably weren’t intended to be. Or maybe they were, I don’t know.

There were (supposedly) a whopping 59 individual Grampa titles in this series; I’ll give you the whole list in a bit. For those that may want to check out some of these but aren’t weird enough to go after ’em all (like I am), I’ll tell you right now: Grampa’s intros and outros (there are no during-the-movie segments) for each title are exactly the same. What, you thought Lewis was gonna film 59 unique intros and outros? Nope! So, if you’re going for one, you can make your choice based solely on what movie you’re fondest of. ‘Course, that depends on if it was a title actually released with the Grampa segments, and whether it’s even remotely possible to find, and so on and so forth.

The only thing different from tape-to-tape was a moment where Lewis asks the off-screen Igor to tell viewers the name of “this monsta flick!” There’s a silence where a respective voiceover would be added, giving the title and stars, while Lewis looks on expectantly. It’s not a bad idea really, except most of the time Amvest didn’t even bother including the voiceover, which means that Lewis excitedly proclaims “THAT’S THE ONE!!” to absolutely nothing – which is actually really, really funny. My brother, who had never seen one of these prior, joined me for this viewing and got a laugh out of the moment, along with sharing a well-stated “Awkward!”

Lewis’ Super Scary Saturday on TBS is probably the first thing that comes to mind for those that haven’t seen one of these tapes but are imagining a horror hosted showcase starring Grampa. If you pick up one of these Amvest tapes, don’t go in expecting anything close to that show; Amvest was strictly a budget outfit, and boy, it shows. Forget the relatively big-budget, expansive set of the TBS show; Lewis does his entire shtick in front of a green (I guess) screen, with images of a castle (from White Zombie, I believe) and a lab (complete with squiggly neon accents; hey, it was the 1980s) flashed behind him at appropriate moments.

Lewis had his Grampa shtick down to a science by that point, which was fortunate, because he was basically on his own here. Not only does he have to introduce the proceedings and explain this Amvest video series, but he also has to be entertaining. To that end, he cracks jokes about people confusing him with Paul Newman, states this is all taking place in “Downtown Transylvania,” and posits that he’s 316 years old.

And that’s all in addition to yelling at the aforementioned, off-screen Igor. Igor is also unheard, though the voiceover that was supposed to be added (but usually wasn’t) was intended to be him.

These intros and outros add up to under 8 minutes total, but they absolutely give the tape(s) genuine personality. And, Grampa’s promise of “we’re gonna watch it together!” in regards to the movie, obviously it’s just meaningless hype, but it does do a lot for the atmosphere. There’s almost a personal connection here, which was (is?) in the best tradition of television horror hosts. It’s one thing to dryly introduce a film, but it’s another thing to establish a rapport with the audience. Lewis easily manages that. And not just because he was currently hosting movies on TBS when this was made, but also because he was just that good at what he did in general.

amvest-night-of-the-living-dead-vhs-3

Movie time!

Night of the Living Dead is an intense film, a great film, a genuinely scary film. It’s not exactly a fun film, though. Not in a comical sense, I mean. So, the jokey Grampa segments that bookend it may sound like they’re at odds with the rest of the tape. But, those contrasting styles are part of what makes this so appropriate for today. Halloween is about the scares and whatnot, sure, but it’s also about havin’ some fun.

And, those differing styles are another throwback to honest-to-goodness television horror hosting. The host was there to provide a little levity along with the horrific proceedings. So here, it all just clicks. In a cheap, old, budget VHS sort of way, naturally, but obviously that’s right up my alley. Your mileage may vary, of course.

As evidenced by the screenshots, Amvest did not have access to the highest quality print of Night of the Living Dead in existence. Nope, this is a rough one. It’s pretty blasted, scratchy, dirty, what have you. You can even see the edge of the frame (?) at the top of the screen throughout, as evidenced above. Lotsa crackles on the soundtrack as well. Obviously, this copy of the film made countless trips through the projector before it wound up in Amvest’s hands.

But you know what? None of that really bothers me. I mentioned this in the previous Nosferatu post, but films of this nature, they can sometimes benefit from grainy, worn print quality. Only to a point, granted, but sometimes accumulated wear to a print can enhance the feel of a movie.

“What the H, North Video Guy? You don’t want these movies lookin’ good, G?”

I didn’t say that, you incredible tool. Obviously it’s preferable that a film look as pristine as possible, especially when it’s a movie as important as Night of the Living Dead. THAT SAID, the unflinching storyline, the grainy film stock, the claustrophobic atmosphere, the immersive camera-angles, the gradually-ramping intensity, it’s all somehow made even more otherworldly, even dreamlike, by the quality of the print on this tape. It almost feels more nightmarish, like you’re peaking in on something better left unseen.

So, the condition of this print of Night of the Living Dead, plus some less-than-stellar duplication and the EP recording speed, by all means none of it should work in the favor of this viewing experience. And yet, somehow, it does. Criterion won’t come a-callin’ for a copy of this version anytime soon, but for our purposes here today, it’s perfect.

amvest-night-of-the-living-dead-vhs-4

A zombie shuffling through a graveyard, in black & white, via a cool tilty camera-angle? Looks Halloween appropriate to me!

I have strong Halloween-connections to Night of the Living Dead. Yeah yeah, real unique, I know. Like so many others I’m sure, that’s when I first discovered the film. Well, technically it was November 1, 1997. I’ve talked about this before, but it was through The Son of Ghoul Show that I first saw the movie. At the time, Son of Ghoul was running on both Fridays and Saturdays, same episode both nights, from 8 to 10 PM. That weekend, October 31st fell on a Friday, but it was some channel surfing on the following night that introduced me to both The Son of Ghoul Show and Night of the Living Dead. I became a fan of both immediately.

Night of the Living Dead gripped me in a way no other film did, at least not up to that point. Even with the customary humorous sound effects Son of Ghoul added to it (this being my first episode, it took me a moment to realize what he was doing, but I loved that aspect, too), I was completely and utterly riveted. I just had never seen anything like it.

Since Halloween fell on a Friday that year, Son of Ghoul naturally had things covered. But obviously, it didn’t always work out that way. Luckily, when it didn’t, that same station (WAOH TV-29/WAX TV-35) customarily ran the film itself (as opposed to syndicating America One Network content, as they usually did) on October 31st. This was an entirely different print from what Son of Ghoul had, and truth be told, it exhibited a lot of the scratchy, worn aspects that I feel can and do add an extra nightmarish element to the film. In fact, it’s from those annual airings that I first realized this! For the sake of comparison, I once wrote about one of those broadcasts here.

I consider Night of the Living Dead the capper to my generally-preferred era of classic horror & sci-fi films. Actually, it comes a bit later, to be honest. I usually go for the Universal classics of the 1930s and 1940s, the poverty row films from the same period, and the cornball stuff from the 1950s and early-1960s. After that, my interests wane considerably. I wasn’t always quite so narrow-minded; I wound up like this through years of watching, re-watching, taste refinement, what have you. Hey, I gotta be me.

Night of the Living Dead, however, transcends my admittedly self-imposed limitations. Besides my nostalgic history with the film, I just find it an absolute masterpiece from start to finish. Everything about it works, and works perfectly. The acting, the plot, the claustrophobic intensity, the subtle (or maybe not so subtle) social commentary, the camera-angles, it’s all simply fantastic. The low budget that would have hampered almost any other film instead gives this one a gritty realism. There’s a real substance behind Night of the Living Dead; it’s not just a bunch of zombies eating people in order to give the audience a gory body count and little else. I detest that kind of film making, which is why I respect director George A. Romero so much; there was always more to his work, and this movie is a prime example of that.

Do I really even need to explain the plot of Night of the Living Dead? Just about everyone has seen it; with the public domain status, there were (are) numerous home video releases, television airings, even free and legal online downloads. You almost have to be trying to not see this movie!

Still, I suppose a brief summary is in order: For reasons never satisfactorily explained, the recently dead are returning to life as mindless zombies (or as the film deems them, “ghouls”), who then proceed to murder and eat the flesh of the living. Through various circumstances, on the night this situation first breaks, seven people of differing backgrounds and personalities find themselves in an isolated Pennsylvania farmhouse – a farmhouse that is surrounded by the creatures, whose numbers are progressively growing. The idea is for those trapped inside to work together, to either fortify the house until morning when a rescue party will (hopefully) be by, or safely escape to a rescue shelter in the city. Human nature being what it is, especially in a crisis, well, it doesn’t go quite as planned…

Look, I have a hard time believing anyone stumbling upon this article hasn’t seen the original Night of the Living Dead, but if by some strange occurrence you haven’t, you can watch it here, or at least read more about it here.

amvest-night-of-the-living-dead-vhs-5

Like I said a bit ago, Night of the Living Dead isn’t just a “zombies eatin’ guys, yo” movie. There’s more to it than that, including some pretty terrific social commentary lurking beneath the surface. Much of the film being an allegory for the Vietnam War. I’m far, far from the first to point out there are moments where Night of the Living Dead resembles gritty newsreel footage, and while the connection may be easy for some modern viewers to overlook, at the time of release it had to be hard for viewers of a certain age to miss.

But probably the most visible influential element, beyond the plot and what it did for the horror genre, is the star: Duane Jones. Jones plays Ben, the hero of the film. Of all the characters, Ben is the most level-headed, resourceful, and calm (to a point). Ben also happens to be black. To have an African-American in the lead role of a horror film, as the sanest voice of reason, in 1968, that was a huge deal. It was a monumental leap from Mantan Moreland in King of the Zombies, that’s for sure! And what’s more, while there appears to be some underlying racial tension, his color is never referenced in the movie; he’s simply another person trying to survive the onslaught of the undead. I like that.

Ben gets a legitimately awesome first appearance, literally jumping into the frame after his truck pulls up to the farmhouse. (In other words, you know immediately he’s cool.) Ben is also the subject for one of the most shocking conclusions in film history. I know practically everybody and their mother has seen Night of the Living Dead, but I’m still hesitant to spoil it. If you’ve seen it, you know. If you haven’t, go see it. I’ll never forget how absolutely floored by it I was upon that first viewing nearly 20 years ago. (Almost 20 years? I refuse to believe it’s been that long!)

amvest-night-of-the-living-dead-vhs-6

There were technically zombie films before Night of the Living Dead, (the aforementioned King of the Zombies comes to mind, as does 1932’s White Zombie), but the zombie genre as we know it today basically begins here. Earlier films regarding the subject were more along the lines of people in a trance, products of voodoo, those kind of zombies. The idea of the shambling, mindless, flesh-eating zombie – an idea that found life in a thousand Italian rip-offs (which I hate), the Resident Evil video game series (which I mostly love), today’s The Walking Dead, and of course the sequels to this Night of the Living Dead – it all started here. There’s been some differences over the years: the zombies in Night are scared of fire, whereas those in The Walking Dead are drawn to (or so I’m told; I’m not a Walking Dead fan), but the basic concept has remained the same. You still gotta kill the brain, man!

Part of what makes the film so effective is that we don’t know why the dead are rising and going after our flesh. As I mentioned before, there’s a radiation explanation, in which a satellite returning from Venus was detonated in our atmosphere, but it’s more of a theory than a definitive conclusion.

Or rather, that was a theory presented in the film, but not this particular version of it; that explanatory scene has been edited out of this print! Well, most of it; there’s a short, short piece left in. (There’s also another fairly-obvious bit of editing later, and that one looks then-recently implemented; to make more room for the Grampa segments, perhaps?)

I’m actually okay with the exploding satellite theory being excised from this version, which I’m a little surprised to hear myself say; under normal circumstances, the idea of needlessly chopping up a film, especially a masterpiece like this one, that’s the sort of thing that can cause me to fold my arms and pout for hours on end. But here, it’s so much scarier not knowing why this is all happening. The satellite theory was never conclusive evidence anyway, and all it did was subsequently muck up the reasoning for the outbreak. (Case in point: the back cover for this VHS release!)

amvest-night-of-the-living-dead-vhs-8

Above: Johnny’s coming to get you, Barbra!

Upon this latest viewing, I was struck yet again by just how perfectly-paced this film is. The ramping intensity is something to behold. It starts out foreboding but calm enough, and then grows increasingly nerve-wracking, until the natural boiling point is hit and it all goes careening out of control. You can almost feel this living dead situation grow from something relatively small and not very well understood into a legitimate, widespread crisis. That the movie is so convincingly able to put this forth when, for the most part, it’s only seen from the viewpoint of those trapped in the farmhouse, it’s a testament to just how well-made it is.

And furthermore, because there’s such a wide-range of dispositions on display via the different people inside, it’s almost like a gauge of how the world at large is dealing with the onslaught. From the relatively calm and resourceful to the angry knee-jerk to the indecisive, and even to the victims of the plague, a large slice of human nature is on display – and over the course of the film, some of those lines are occasionally blurred. It speaks to the different personalities of not only the main characters, or even the fictional world beyond the farmhouse, but to us, the very real individuals watching the film! I’d guess most of us would like to identify with Ben, but in a situation like this, who knows who we would actually resemble?

And, in a broader study of life, guess what? It doesn’t matter who or what they (or we) are or what happens; different roads are taken, but it all has the same eventual outcome. Man this movie is brilliant.

Night of the Living Dead is the first in Romero’s Dead film series. While the social commentary, and number of zombies, increased in following entries, this original film is the only one I concern myself with nowadays. I didn’t like the way things were heading in 1985’s Day of the Dead, and after reading accounts of the following entries, well, I really had no desire to see any of them.

Even 1978’s Dawn of the Dead, the first sequel to Night, while there was a point when I considered it my favorite of the series, as I grew older I gravitated back to this original. I know that’s probably anathema to admit, and yes, Dawn is technically a better film, with stronger social commentary, a higher budget, etc. BUT, Night, I just find it so much more effective. I like the comparatively subtle social commentary, but more importantly, the claustrophobic black & white nature of the film, it still grips me in a way no other horror movie can.

And as far as the Dead series as a whole goes, Night seems the purest; no trained, and from how I understand it, eventually intelligent, zombies – a germ of an idea that really turned me off Day upon my first viewing so many years ago. Nope, the creatures in Night are just relentlessly after your flesh; that’s it! Do you really need more of a driving factor than the prospect of your skin bein’ munched on?!

And what’s more, the tone of the following Dead films, I don’t like the increasingly bleak direction they took. Again, probably anathema to admit, I know. But, the idea of the entire world being overrun, a zombie apocalypse, I don’t know, it just doesn’t do it for me. Oddly enough, despite the shocking downer conclusion of Night, there’s still a small glimmer of hope on display: Maybe things can still be contained, maybe this really was just a night of the living dead? I find the uncertain prospects at the end of the film far more appealing than knowing that “y’all is doomed.”

I guess what I’m getting at is that I prefer to view Night of the Living Dead as a standalone film and not as part of a wider series. I know many will disagree with me, and that’s fine; it’s strictly a personal choice on my part, and I’m well aware that I’m probably in the minority.

amvest-night-of-the-living-dead-vhs-7

One more thing about Night

Chilly Billy! Yep, there’s an added element of horror hosting history on display in Night of the Living Dead: Bill Cardille, popularly known as “Chilly Billy,” hosted Chiller Theatre in Pittsburgh (where this film was, uh, filmed) for years. Here, he plays a news reporter, keeping viewers abreast of the crisis in the world at large.

Cardille passed away in July, and while I myself never had much experience with him beyond this movie, it’s clear that he meant a lot to his local viewers. So, here’s my small, belated tribute to one of the icons of horror hosting. R.I.P., Chilly Billy. If there’s one way to live on, being in Night of the Living Dead, of all films, is it!

(Fun Fact: Cardille’s daughter Lori was the star of the second sequel to this movie, 1985’s Day of the Dead!)

amvest-night-of-the-living-dead-vhs-13

And that brings us back to Grampa, the element that takes this VHS tape of Night of the Living Dead from “great movie, interesting release” to “I love this I love this I love this so so so muchhhhh.” The movie is pretty untouchable no matter how you see it, but when it has horror hosted bookends, it’s all just so much more fun. Especially when they’re courtesy of Al Lewis.

Because the segments for this series were all the same, with only the voiceover in the intro supposed to have been changing, much of what Grampa says isn’t tied to any particular film (for obvious reasons), and what is movie-related is just generic oohing and ahhing.

For example, the first thing he says upon returning from the movie is “That was so scary, it scared the blood right back into my veins! What a feeling!” Not an unusual thing to say given the circumstances, and in the case of Night of the Living Dead, it works. Thing is, a good deal of the (prospective) movies in this series, they were more silly or cheesy than they were scary, which makes the line either pretty appropriate or wildly ironic, depending on the film.

I’m not really going anywhere with this line of thought, I just wanted a kinda sorta decent transition to this next part…

amvest-night-of-the-living-dead-vhs-14

No one is quite sure how many titles were actually released as part of this Grampa Presents line. We have a list of titles that were supposedly available, via a scrolling list in the outro segment (above), but only a portion of those have been confirmed to actually exist. It doesn’t help that ones known to exist with the Grampa-branded cover don’t necessarily have Grampa on the tape, and ones that have ‘normal’ covers can sometimes have the surprise host segments. And, as we’ve seen today, there were re-releases of older, 1985 Amvest tapes that left the covers the same, but updated the tape itself to fit the series. And they ALL share the same catalog numbers, which just makes things more confusing. It’s an interesting, though often maddening, mish-mash of releases, and every time I think I’ve got a handle on things, something comes along that makes me question everything all over again.

Before I got this tape, I had basically come to the conclusion that the older ’85 titles were added to pad out the number of supposed Grampa Presents entries during the outro scroll, but I held doubts that they were ever updated to correspond to the 1988 series beyond that. I had obtained enough of the ’85 titles to where I thought I was safe in making that educated (ha!) guess. Needless to say, my finding of this Night of the Living Dead shatters that theory and leaves things pretty much wide open now.

So, my new rule of thumb is “If it’s on this list, and it’s available, give it a shot, because you never know until you play it.” That’s the best and only conclusion I can come to. I strongly suspect Amvest released all of these movies on VHS at some point, and for all I know, there’s corresponding Grampa versions for each and every one.

Here now is that complete list of potentially available titles as given during the outro segment…

(* = Indicates that I personally own a copy of that title, and thus I know for sure it was released by Amvest in some form at some point. [Confirmed] = Indicates this title was indeed released as part of the Grampa Presents series, either with him on the tape itself, on the packaging, or both. If Al Lewis is present in or on the tape in any way, I’m considering it officially released as part of the series. My confirmation is based on what I personally own, what I myself have seen sold online, these two pages over at The VCR From Heck, this page over at VHSCollector, and the Mike’s VHS Collection page over at Cinemassacre. Reputable sources all! And yes, I will continuously update this list as I progressively confirm and/or acquire more titles.)

1. VV-430 – Night Of The Living Dead [Confirmed]*
2. VV-432 – The Little Shop Of Horrors*
3. VV-439 – The Terror [Confirmed]*
4. VV-442 – The Devil Bat [Confirmed]*
5. VV-443 – Horror Hotel [Confirmed]
6. VV-446 – The Ape Man*
7. VV-458 – Frankenstein’s Daughter*
8. VV-471 – Godzilla Vs. Megalon*
9. VV-476 – White Zombie*
10. VV-501 – Ghosts On The Loose [Confirmed]
11. VV-515 – The House Of Exorcism [Confirmed]
12. VV-516 – The Incredible Two-Headed Transplant [Confirmed]*
13. VV-517 – Spider Baby [Confirmed]
14. VV-518 – Spooks Run Wild [Confirmed]*
15. VV-519 – The Indestructible Man
16. VV-520 – The Corpse Vanishes [Confirmed]*
17. VV-521 – Phantom From Space [Confirmed]*
18. VV-522 – Who Killed Doc Robin?
19. VV-523 – Killers From Space [Confirmed]*
20. VV-524 – The Human Monster [Confirmed]*
21. VV-525 – Scared To Death [Confirmed]*
22. VV-526 – The Vampire Bat
23. VV-527 – Death Race 2000*
24. VV-528 – The Phantom Of The Opera (1925)
25. VV-529 – Invisible Ghost [Confirmed]
26. VV-530 – Bride Of The Gorilla [Confirmed]
27. VV-531 – Carnival Of Souls [Confirmed]*
28. VV-532 – Witch’s Curse [Confirmed]*
29. VV-533 – Snow Creature [Confirmed]
30. VV-534 – Battle Of The Worlds*
31. VV-535 – Dementia 13 [Confirmed]*
32. VV-536 – Alice, Sweet Alice [Confirmed]
33. VV-537 – Vampyr
34. VV-538 – Radar Men From The Moon (Part 1)
35. VV-539 – Radar Men From The Moon (Part 2)
36. VV-540 – The Death Kiss [Confirmed]*
37. VV-541 – Nosferatu [Confirmed]*
38. VV-542 – Yog, Monster From Space [Confirmed]
39. VV-543 – First Spaceship On Venus [Confirmed]*
40. VV-544 – The Crawling Eye [Confirmed]*
41. VV-545 – Giant From The Unknown [Confirmed]*
42. VV-546 – Immediate Disaster
43. VV-547 – The Last Woman On Earth [Confirmed]*
44. VV-548 – The Living Head [Confirmed]*
45. VV-549 – Mesa Of Lost Women [Confirmed]
46. VV-550 – Missile To The Moon [Confirmed]*
47. VV-551 – Monster From Green Hell [Confirmed]*
48. VV-552 – Nightmare Castle
49. VV-553 – The Robot Vs. The Aztec Mummy
50. VV-554 – Mars Attacks The World*
51. VV-555 – Satan’s Satellites
52. VV-556 – The Island Monster
53. VV-557 – Wild Women Of Wongo
54. VV-558 – Wrestling Women Vs. The Aztec Mummy
55. VV-559 – Dr. Jekyll & Mr. Hyde (Michael Rennie) [Confirmed]
56. VV-560 – She Demons [Confirmed]*
57. VV-561 – Creature From The Haunted Sea [Confirmed]
58. VV-562 – The Ape [Confirmed]*
59. VV-563 – The Phantom Creeps [Confirmed]

In addition to those 59 titles, there were also four special compilations hosted by Grampa: Two movie trailer collections, and two horror-themed cartoon collections. These four listings were not included in the scroll at the end of these Grampa Presents tapes, and technically probably aren’t officially considered part of the series. Still, they’re Amvest, and they’re Grampa, so for the sake of completion, I’m including them here. It should be noted that the two movie trailer tapes are probably the easiest Amvest Grampa tapes to find. It seems used copies are almost always readily available on eBay and Amazon, especially the Grampa’s Monster Movies compilation.

60. VS-005 – Grampa’s Silly Scaries – Vintage Horror-Themed Cartoons [Confirmed]
61. VS-006 – Grampa’s Monster Movies – Vintage Horror Movie Trailers [Confirmed]*
62. VS-009 – Grampa’s Sci-Fi Hits – Vintage Science Fiction Movie Trailers [Confirmed]
63. VS-010 – More Silly Scaries – Vintage Horror-Themed Cartoons [Confirmed]

It’s important to note that in 2004, Passport Video (who somehow share a connection to the Amvest of old) released DVDs of the horror trailers and cartoon sets. I don’t own either (yet), but from how I understand it, they were straight conversions of the old Amvest tapes, barring maybe one or two alterations. The VCR From Heck has more info on these DVDs.

It’s wild to think that Lewis was still alive when those DVDs were released; hopefully he got a few extra bucks thanks to them.

amvest-night-of-the-living-dead-vhs-15

It’s a trip listening to Lewis as the list scrolls. Mostly, he makes generic comments such as “I remember that one!” until he decides it’s time to yell at Igor some more for his apparently bad eating habits. It’s doesn’t make much sense, but it’s better than a dry, silent scroll if nothing else.

The end of the scroll promises “more to come.” This list of 59 titles is the only real resource we have of the Grampa Presents releases, and as previously stated, whether all of those were even put out with Lewis-involvement of some sort is in question.

Still, that statement of “more to come” is thought-provoking. Is it possible that Amvest later released some additional titles with Lewis’ host segments grafted on? As we’ve seen, they wouldn’t have even necessarily included the appropriate hoopla on the VHS sleeve; you never know for sure until the tape is played.

Of course, I have no knowledge whatsoever of further “surprise” titles in the series; everything I have or have seen has corresponded exactly with this list. Frankly, I suspect the promise of later releases to have been little more than hype, hype that eventually went unfulfilled. Still, one has to wonder…

amvest-night-of-the-living-dead-vhs-9

After the scroll, information is given to order direct from Amvest if a desired title couldn’t be found in stores. And, my guess is, a good many couldn’t.

$12.95 total may sound like a lot for a VHS tape now, but back in 1988, that was most definitely a budget price. Remember, official, big-time movie releases on the format then were over $20 (sometimes way over). But $13? That’s totally doable. And, I wouldn’t be surprised to learn that actual in-store copies were even cheaper, especially when establishments were trying to clear out the old stock to make room for the new. Honestly, I can see these running $5-$10 easily in those instances. Now granted, the quality of the tapes often left a lot to be desired, but hey, that’s where the old adage “you get what you pay for” came in.

Anyway, on the off chance you did come across these tapes at a brick-and-mortar video store, you were supposed to look for the “Casket of Horrors” display, which housed all of them in once concise section for your perusal. I have no idea how many of, or even if, these displays were produced; the tapes themselves seemed to have barely gotten around, after all. But, there’s no doubt that the display is painfully, ridiculously, undeniably cool. Do you have any idea how badly I’d flip if I could get one of these stand-ups for my collection? Pretty badly! We’re talking an “only technically an adult” level of excitement here.

I’m trying to decipher what tapes are on display in this scene. Given the less-than-pristine quality of this tape, it’s not an easy task. Third from the left I’m almost positive is a copy of this Night of the Living Dead, and second from the right I’m pretty sure is Godzilla Vs. Megalon. The rest, I have no idea. Despite Grampa’s assurances each tape would feature his face on the cover, these all appear to be 1985 releases, and who knows if they were all actually altered to feature Grampa on the actual video; Night obviously did (at some point), but my Amvest Megalon? Despite showing some signs of potentially being an ’88 reissue, it was not Grampa-ized (much to my understandable chagrin). So again, there’s just no way to tell without having a tape in-hand and playing it.

If one did decide to order direct from Amvest, Grampa gives the standard address, New Jersey residents (where Amvest was based) had to add 6% sales tax, and so on and so on. But, he also states that when ordering, please allow 4 to 6 weeks for delivery “because in your neighborhood, the bats don’t fly that fast!” Yes, Grampa suggests your tape would be delivered by a bat. How can you not love the guy when he does things like that?

amvest-night-of-the-living-dead-vhs-16

Grampa’s final pitch before the sensory assault that was (is) this tape finishes? “So listen to Grampa and don’t dig your own grave! Go out and buy Amvest Video!” That’s pretty fantastic. And what if you don’t buy Amvest? Grampa proceeds to vaguely threaten what will happen if you don’t: “One night, it’s dark. You’re alone? You won’t be; I’ll be there visiting!” This statement is then followed by the classic, loud Grampa laugh that continues as the screen fades out.

Again, how can you not love the guy when he does things like that?

amvest-night-of-the-living-dead-vhs-17

One last touch: the Amvest copyright card punctuates the video, complete with an evocative score (plus some continuing Grampa laughter!) and computerized blood dripping down the screen. If somehow someone hadn’t realized they were watching something sufficiently “spooky” prior (yeah, sure, uh huh), this last image leaves no further room for doubt.


Whew! Done!

This, this tape, I just don’t think I can accurately describe how cool it is. Some may see it as a cheap, wildly obsolete relic from a bygone era in home video. Not me. I see it as an incredibly entertaining product from the earlier years of video. Yes, the quality isn’t the greatest; it’s a budget release after all. But the Al Lewis segments are fun, especially to a fan such as myself. And the movie? You just can’t touch the original Night of the Living Dead. Even when it wasn’t an ‘authoritative’ presentation, it works, because the film is just THAT good. And, despite the somewhat lacking print quality here, like I said before, it adds an extra layer of nightmarish, grindhouse feeling to the proceedings.

Back when I reviewed The Corpse Vanishes as presented via this series, I held doubts that I’d ever do such an in-depth study of one of these titles again. Obviously I didn’t hold true to that. But, I think I was justified in revisiting. You just can’t top this one. My hunt for more of these titles will continue, I’ve gone too far to stop now, but in the way of sheer Halloween coolness, this Night of the Living Dead entry won’t be topped. The game is over, and I have won.

Previously, Grampa Presents The Corpse Vanishes was my de facto favorite entry in this series. But now, I’ve got to amend that standpoint a bit: It’s now safely tied with this one. The Corpse Vanishes is still my favorite “traditional” release; cheaper packaging, the Grampa advertising all over it, etc. Nevertheless, this Night instantly shot right up there next to it. (EDIT: Now it’s a three-way tie; I’ve since discovered Grampa’s version of The Devil Bat, too!) No, Al Lewis isn’t on the sleeve, but he’s present where it really counts, and that’s more than enough to rank this tape up there not only with my favorites in the line, but also up there with the favorites of my not-inconsiderable VHS collection as a whole. That’s a big statement coming from me, but I have zero problem making it.

And with that, our big Halloween post comes to a close. I can’t think of a better choice for the blog today. Sure, in the realm of these Grampa tapes, there are other appropriate choices, too; Carnival of Souls would have sufficed nicely, had I decided to give it the spotlight. But, given my fondness for this series, my history with Night of the Living Dead, and the fact this particular release is painfully rare, this was the logical, and to me, only, topic I could see myself going with. It’s just so Halloween appropriate! I simply couldn’t have asked for better material to cover on the blog than this.

Have a great Halloween everybody!

Amvest Video’s Grampa Presents VHS Series: 1922’s “Nosferatu” (1988)

amvest-nosferatu-12

You want October-appropriate? You got it!

Why’s that? Because the quest continues! The quest for what, you ask? More Grampa Presents tapes, that’s what! See that image above? That’s the mark of greatness. You can’t deny it, because it is. Blood-drippin’ font, Al Lewis kinda sorta winking at you, greatness.

Actually, the quest for these tapes never stopped. With last year’s big Halloween day post, I first spotlighted the Amvest Video “Grampa Presents” VHS series, in which Al Lewis (who was Grandpa Munster in everything but official name) hosted public domain horror films from a cheap, green-screened set and yelled at an unseen (and unheard) Igor.

Despite that tape having the notable malady of ending before the movie was actually finished, I was entranced, and by January 2016, I had not only added a number of titles in the series to my collection, but also gained quite a bit of knowledge on the company, the series as a whole, etc. This was all presented on the blog via an intensely detailed review of The Corpse Vanishes from the line, a tape that has become one of the favorites of my collection (and that post is one of my favorites on this site, too).

I’d like that Corpse Vanishes post to be the ultimate word on the subject, but that doesn’t mean my purchasing of these tapes or first-hand ‘research’ has stopped since. Oh no, I kept adding to the collection, kept learning about the various quirks of the line. Indeed, as far as pre-recorded VHS releases go, Grampa has become the main area of interest for me.

That said, while I don’t want to reiterate all of the points I made in that last article, I feel I need to give a quick summation of just why I’m so fascinated by this whole thing. In short: the series had limited distribution, and has subsequently become relatively obscure. Despite a list of supposed releases, no one is quite sure just how many tapes actually made it out with Grampa adorning them in some fashion. Add to all that a cheap, budget tape charm and the aspect of horror hosting at the center of it all, and, well, is it any wonder I want as many of these as possible?

And that brings us to this tape. In the realm of budget VHS (and Halloween!), the charmingly cheap vibes emanating forth are nearly overpowering. I mean, you’ve got Al “Grampa” Lewis, presiding over one of the greatest horror films of all-time, the 1922 silent classic Nosferatu! The German expressionist (unauthorized) adaption of Dracula! How cool is that?!

amvest-nosferatu-11

Now, this tape was not one of the “does it actually exist or not?” entries; its existence has been confirmed for quite some time, with a pic of the box floating around online to match. Still, the very thought of Grampa hosting one of my all-time favorite films, and a bonafide classic to boot, easily made it one of my personal chasers. It took awhile for it to show up online, but eventually it did, and duly became mine. It seems like this Nosferatu is one of the harder entries to come by, but then, even the more “common” titles don’t appear all that often. And, regardless of any perceived rarity on my part, these Grampa tapes seem to run on average $20-$30 no matter what the featured movie is. Sometimes even less.

Look, I love these releases, warts and all, but aside from being compared to other old VHS tapes, they’re not really worth all that much. Is that because the line is so obscure? Because the tapes are so cheap in pretty much every facet? Or is it because I’m the only one that actually cares about all this? I don’t know the answers to these burning questions, but I do know that this Nosferatu VHS is mine and you can’t have it. So there!

You can’t say the cover isn’t eye-catching, though in a good way or a bad way is solely up to the individual gawking at it. The watercolor-ish rendition of one of the most iconic images from the film, complete with mood-setting-yet-totally-superfluous lightning added, is a good example of the art used for many (but not all!) of these tapes. As I’ve said before, they often had a decidedly “homemade” look to them, some ultimately faring better than others. Many will disagree, but I personally feel that the hand drawn covers only add to the charm of the line. It just screams “budget tape,” which, needless to say, is like my own personal Siren. (Minus the resulting sailor death – hopefully.)

But, as I’ve also pointed out before, these covers are absolutely made by the “Grampa Presents” banner along the top. How could a horror fan not want to add that to their collection? They’re always so unabashedly cool, and they totally add a unique aspect to these releases. Why pick up that cheapo copy of Nosferatu when you can have this one with Al Lewis adorning it? It’s a decision that practically makes itself!

amvest-nosferatu-10

Like the cover art, the synopsis’ found on the backs of these varied from release to release. Nosferatu got one of the more-detailed ones, though it’s kinda odd. Nosferatu was, as previously mentioned, an unauthorized adaption of Bram Stoker’s Dracula. As such, the filmmakers originally changed names and details in hopes of avoiding a lawsuit from Stoker’s estate (a ploy that failed spectacularly; more on that in a bit). Later American prints later changed these aspects back to fit more with the Dracula we know and love. Perhaps surprisingly, the summary on the back cover uses the original naming system in its description (except for “Bremen,” which should be “Wisborg” in this instance), even though the actual print is a later Dracula-ized U.S. version that frequently made (and makes) the public domain rounds. So what point of reference was Amvest actually working from here?

And the synopsis as a whole, it’s strangely ‘paced,’ for lack of a better term. Not only does it completely ignore the Dracula-aspects of the movie, but it also really focuses on only half the story. There’s too much emphasis on Hutter/Harker being stuck in the castle, and not enough on what the movie is really about. That said, even if I hadn’t known better, it still sounds like a pretty good movie. But, the bottom line is, it’s not a very balanced summary.

‘Course, like the banner on the front covers, the saving grace on the back covers was always the “Grampa’s Ratings” feature found at the bottom. They were like Al Lewis’ own stamp of approval, his personal guarantee of a good time. He always gave a short (sometimes very short) endorsement, and the piece de resistance, a star rating system – but composed entirely of bats. That’s fantastic. No joke, through whatever faults these tapes may exhibit, they have charm to spare.

Though, only three bats? C’mon Gramps, if Nosferatu doesn’t deserve a whole four bats (or five, if that’s what his scale went up to), what does? At least he correctly concludes that it’s a “scary silent classic,” which it totally is.

(While I have my doubts that Lewis really wrote these summaries himself, I’m operating under the assumption that he did, if for no other reason than the mental image of Grandpa Munster slaving over his synopsis and score for a budget videotape amuses me.)

amvest-nosferatu-9

NosTeratu. From the same award-winning quality control that let a tape recorded in the wrong speed make it out the door. And yet, I can’t help but love the extreme budget tape vibes projected forth by said typo. Charm baby, charm.

Amount of tape used to record this entry in the series: approximately a foot. Obviously, this is an EP-recorded tape. (However, even though it’s not an issue this time around, there is an inherent danger in jumping to such a conclusion; allow me to direct you back to my first Grampa tape review.)

Okay, so, we’ve seen the front and back covers, and the tape itself. Now it’s time for the really good stuff: Al “Grampa” Lewis not only hosting a horror movie, but a legitimately great horror movie! Behold…

What? Oh, you’re confused by the fact that you’re not seeing any actual screenshots of Grampa in action? There’s a simple reason for that: Grampa is MIA on this tape.

Yes, despite all the pomp and circumstance found on the front and back of the slipcase, inexplicably, the Grampa host segments are not included on my copy. Looks like Amvest went the Gene Shalit route this time around! (I’m reasonably sure this is the only review of Nosferatu to include a common link between Gene Shalit and Al Lewis, by the way.)

Okay, sure, the host segments for this line of tapes, they were the exact same for each movie; it’s not like I’m missing out on anything actually new to me here. Still, their absence does take away an aspect of this VHS that would have made it stand as really unique when compared to other similar releases of Nosferatu.

During my “journey” collecting as many tapes in this series as I can, I long ago discovered that certain releases, while appropriately displaying Lewis on the cover, do not actually feature him before and/or after the movie. (But on the flip side, a few releases don’t feature him on the cover at all, yet he is there when “Play” is pressed!) So, I knew that him not showing up to legitimately host this film was a distinct possibility. Just because I was forewarned doesn’t mean it didn’t hurt me deep anyway, though.

Seeing how up-and-down a lot of these Amvest releases were/are, I don’t rule out the possibility that the Al Lewis segments DID show up on some copies of Nosferatu. I’m going to guess (and that’s all this is, a guess on my part) that later issues of these tapes neglected to include the Lewis segments. I have three SP-recorded tapes from the line, and none feature him. And, as far as the EP recorded ones go, this isn’t the only one I have that omits him, either. So, it wouldn’t really surprise me if other issues of the same title did have the Grampa bits.

I guess what I’m getting at is that you just never really know until you actually play one of these.

amvest nosferatu 1

But, Grampa or no Grampa, Nosteratu Nosferatu is still Nosferatu. I mean, it doesn’t get much more classic than this! Plus, even with the Al Lewis host segments absent, his mere presence on the cover is enough to make Kino green with envy. Oh sure, they can restore and tint and whatever this film as much as they want, the fact remains that none of their various VHS, DVD or Blu-ray releases of Nosferatu have Grampa Munster featured on the artwork, and thus, Amvest wins.

Or do they? This ain’t exactly a Criterion-quality print of the film. Indeed, it’s borderline unwatchable, and that’s coming from a guy that spends a fair amount of time staring at thousand-year-old EP-recorded VHS tapes.

First, the good news: this is basically the version of the film that introduced me to the movie waaay back in 1997. It was Halloween day, and I was in 5th grade. My grade school always did the whole costume thing, and at lunch we were allowed to go home to change. Now, I was already a young tape-head, and I had discovered our WAOH TV-29 and the variety of classic movies they ran that just-past Summer. Oddly enough though, it wasn’t until their late morning broadcast of Nosferatu on that fateful day that I recorded anything off the station. Already a big horror and sci-fi fan, and a sucker for silents too, I was pretty stoked to check out this new-to-me movie.

So, lunchtime rolled around, my brother and I came home to get our costumes, and I had just enough time to see what I captured earlier that very day. Obviously I didn’t have time to watch the whole thing right then, but it took only a few cursory glances to know this was already ‘my’ movie. I was a fan from the start.

It was an old, worn, Americanized print, one that I’d run into time and time again in the years following, but the thing that, unbeknownst to me initially, really set this one apart was a wonderfully spooky score (relatively spooky, anyway). I can’t think of a better way to describe this, but the “woooooo” sound made upon the opening credits starting, it instantly set the tone, and thus that’s just one of the reasons this is the version of the film I’m most nostalgic for.

So, this Amvest release is essentially the same version I first saw that day back in October 1997. Well, except for the Thunderbird Films superimposition on the title screen (above), far worse print quality, and film duplication that’s markedly below what I myself recorded in EP back in ’97. I still find it wildly endearing, but man, my taped-off-TV copy from nearly 20 years ago (I refuse to believe it’s been that long!) is actually superior to this “real” release! Go figure!

amvest nosferatu 2

See, Dracula-styled names. Did you think I was lying? I wasn’t. Upon its original release, Nosferatu changed those well-known versions to alternates. Drac became “Count Orlock,” Renfield became “Knock,” Harker became “Hutter,” and so on. Lemme explain a bit…

Nosferatu almost didn’t exist long enough for Grampa to (almost) host it. You know that lawsuit I mentioned earlier, the fear of which being the reason the names were changed in the first place? Yeah, that case was decided in the favor of Stoker’s widow anyway, and she immediately ordered that all prints be destroyed. Yikes! According to legend, she never even watched the film. Luckily, a few copies survived (foreign exports, if I recall correctly), and it’s those sources that gave us the film(s) we have today.

Well, at some point, U.S. prints began removing “Orlock” and so on and instead utilizing the originally-changed names. Nosferatu was obviously already Dracula-ish, but this made it even more Dracula-ish (which makes sense, since it’s, you know, Dracula), and those are the versions most commonly (always?) found making the public domain rounds nowadays.

Are the “re-revised” names found on this release true to the original film? Well, no. Purists will naturally balk at their inclusion here (and at a variety of other aspects, too). Still, because this is how I first saw the movie, I initially had a hard time fully getting into the restored versions that utilized the original ‘fake’ names. Doesn’t bother me now, but I still refer to Max Schreck’s vampire as “Dracula,” not “Orlock,” simply because that’s what it was to me first.

amvest nosferatu 4

A face? Nosferatu don’t need no face!

Look, we’re lucky to have any prints of Nosferatu at all, and naturally the ones we did end up with were copied endlessly in the years prior to this video release. Even the various Kino versions, fantastic though they are, aren’t exactly pristine. So, no one should ever think they’re going to get something particularly fantastic-lookin’ from a budget VHS edition. One recorded in EP, at that.

As you can see above, there are shapes and forms on-screen, but actual detail is pretty much loooong gone. Now, most of that is the print itself, but Amvest, for as much as I love ’em, they get some of the blame here, too; their duplication techniques were apparently not the best. I’m not just talking the EP recording speed either, but rather the actual duplication. So many of these tapes look like they were duplicated using the old VCR-to-VCR method; maybe they were, I don’t know. Point is, when you’re using a trashed print of whatever, poor duplication is only going to make the final product look even worse.

amvest nosferatu 5

A face? Nosferatu don’t need no face!

The poor condition of this print (and others like it), it’s understandable; I don’t think there was anything even approaching a ‘definitive’ Nosferatu until Kino released their terrific restoration in 1991. And, despite the poor quality here, you do get the gist of things. But man, sharper image quality makes a big difference in a film like this.

On that front, I’ve got to backtrack a bit. I’ve previously stated that with films like this (and the original Night of the Living Dead, while we’re at it), you can clean them up and restore them all you want, the older, worn prints are the ones I find most effective. I don’t mind if a version uses the Dracula names, lacks tinting, is scratchy, whatever – to me, that only enhances the nightmarish quality. It almost feels more otherworldly, like you’re watching something you’re not supposed to. I know I’m in the minority here, and it undoubtedly has to do with how I first saw the movie, but hey, that’s just me.

HOWEVER, I’ve got to rectify that statement somewhat; while I still stand by it, I stand by it only to an extent. This Nosferatu, it just looks bad. It’s blurry, the detail is blasted, and the picture is overly cropped. As such, much of the mood, not only is it NOT enhanced, it’s actually destroyed beyond repair.

amvest nosferatu 6

A head? Nosferatu don’t need no head!

There’s that cropping I just mentioned! Nosferatu being cropped isn’t exactly a unique aspect to this release; many versions suffered varying degrees of cropping. Amvest’s Nosferatu though, boy, scenes like the one above (one of my favorites from the film) are not only rendered much less effective, they also look a bit goofy – and Nosferatu is anything but goofy.

Abrupt gear shift; I should probably talk about the actual movie a little, huh? I have a feeling most people stumbling on to my silly little blog have already seen Nosferatu; it’s one of THE top horror films, silent or otherwise. But if, by chance, you haven’t seen Nosferatu, yet are familiar with Dracula (in some form or another), well, you’ll probably already have an idea of how this film plays out. The basics are same: a vampire travels from his faraway castle to civilization, bringing with him a thirst for blood, and thus, death.

There’s some notable differences in Nosferatu, even beyond the aforementioned name changes. The setting is German instead of English, different date, different way of defeating the vampire, etc. The biggest difference, however, is the vampire himself; this ain’t your Lugosi’s Dracula! Instead of the classy Count that Bela portrayed, Max Schreck’s is an ugly, rat-like creature. Tall, gawky, stiff as a board and with claw-like hands, Nosferatu is legitimately terrifying. Unlike Lugosi’s Dracula, Schreck’s looks as evil as he really is! (Too bad the quality of this print is too rough for me to really show you!)

Look, Nosferatu is public domain. There’s no shortage of copies out there. My recommendation: head on over to Amazon and grab Kino’s fantastic restoration. If you haven’t seen the film, you need to see it. It’s a fantastic piece of German expressionism that, frankly, I’m not sure I can do justice to by merely explaining it.

amvest nosferatu 7

Look familiar? Why, that’s our cover art in action! You’ll note the absence of lightning. And why exactly is a vampire walking around in daylight? Nosferatu was originally tinted, with appropriate colors for appropriate times/scenes/etc. Restored versions included new, supposedly-accurate tinting, though that is, of course, not the case with the public domain copies such as this one.

It’s a testament to just how well-made this film is that even without the original tinting, and even in a print as poor as this particular one, some of the images still remain effective. Case in point: above, and below…

amvest nosferatu 8

Surely you recognize this scene. It’s one of the most iconic images from the film, which is really saying something, considering there’s plenty of iconic images throughout. Even with the shoddy shape this print is in, it’s tough to ruin it, though the VHS refusing to track properly did the best it could. (No kidding; being old budget tapes, these Amvest videos often have tracking problems, but man, this Nosferatu just got crankier and crankier as it played.)


This is a tape where the whole is probably greater than the sum of its parts.

While on one hand you’ve got a legitimately classic horror film as part of a cool series of tapes from the golden age of home video, you’ve also got a terrible print, problematic tracking, and what was supposed to be one of the most unique things about the whole deal, Grampa’s host segments, those aren’t even included.

And yet, somehow, it still works. Don’t get me wrong, this is far, far from a definitive release of Nosferatu, but as an artifact of 1980s home video, it’s pretty darn cool. Maybe it’s because I’m a sucker for classic horror films, especially public domain ones that have found their way to the often-murky world of cheapie videotapes.

Or maybe it’s just that Al Lewis box art. After all, that alone probably puts this one above all the other budget releases of the time. Okay, it’s a host-less version of the movie, and with awful picture-quality to boot. Doesn’t change the fact this makes for one neat, Halloweeny-lookin’ video! On the outside, anyway…

At any rate, I couldn’t be happier to have this as part of my collection. Another Grampa tape down, _____ to go!

Alpha Video – Range Riders (1934) DVD Review

rangeridersheader1

Look, I loves me some westerns. I really do. Okay, yeah, you tend to see more horror and sci-fi-related things here at the blog; what can I say, those are my favorite film genres. But, I really am a western fan, too. And of course, it’s not like we’ve never seen anything from that genre here in the past. Just not as much as I’d maybe prefer.

Actually, to be honest, when it comes to westerns, my heart really lies with the cheapie entries. That is, B-Westerns. You know, the hour-long (if that) quickies practically produced for pennies, particularly in the 1930s and 1940s. (Are you jealous of my alliteration skills yet?) Sure, they were intended as strict matinee fare, they weren’t exactly technical marvels of movie making magic (alliteration again), and they undoubtedly weren’t a realistic example of life in the old west, either. Doesn’t matter to me, though. They’re simply fun entertainment, and a supreme example of a bygone cinematic era. To watch one of these is to be instantly transported back in time, even if the film itself is hardly a masterpiece. Doesn’t hurt that I grew up watching them on WAOH TV-29, either.

You know, I think the only time we’ve seen a legit B-Western here was when I looked at an old television broadcast of John Wayne’s Blue Steel, though going waaaaay back, the fascination was hinted at here and here, too. I’m going to rectify this omission today, because man, the DVD that recently came into my possession, it’s just jaw-dropping. And not in a good way. (But definitely in an entertaining way.)

Y’see, another movie-based interest of mine is a fondness for the, uh, weaker specimens. In other words, I love watching a good bad movie. And boy, in the realm of B-Westerns, I’m not sure it gets worse than this. Unbeknownst to you prior, that header pic up above wasn’t just an aesthetic choice on my part; in actuality, it was a harbinger of your destiny. Why? Because today’s subject can and must become a part of your life. Ladies and gentlemen, I now present to you the 1934 Buddy Roosevelt anti-masterpiece, Range Riders

rangeriders4

I didn’t pick this DVD up by chance. Oh no, my knowledge of this film actually goes back to around 1999 or so. At the time, I was receiving Sinister Cinema’s big giant catalogs in the mail. In the years before practically anything and everything had been re-released on DVD, Sinister Cinema was the place to go for obscure films. (The company is still fantastic, too; you’d be well-advised to check out their website.) I’d spend the longest time pouring over those catalogs, figuratively drooling over all the interesting, new-to-me flicks they promised.

Almost every genre you could think of was (is) healthily represented by SC, and needless to say, that also included (includes) B-Westerns. Now, I had made a habit out of recording B-Westerns off of TV-29, so I was no stranger to these almost-forgotten artifacts of another cinematic day and age. But, the stuff SC had, man, a good deal of it was uber-rare. The included synopsis for each entry (and SC wasn’t shy about letting you know which flicks were good and which ones weren’t) only served to further whet my appetite.

Unfortunately, SC had a habit of phasing out older titles (presumably ones that weren’t selling in respectable numbers any longer). Keep in mind that I was only 13 or 14 years old at the time, and thus had even less money than I do now (which is really saying something). Therefore, a good many of the titles I wanted to order, I just never had the chance. And that’s where Range Riders enters the picture.

I wanted a lot of movies from SC, but as far as B-Westerns went, Range Riders was one of the biggies. Not because it was touted as being good, but rather because it was touted as being so BAD. Like I said, SC wasn’t shy about saying a film was terrible, and of all their B-Westerns, Range Riders got perhaps the most abuse of any entry in that section (though a few others were comparable). Naturally, I had to see it. Of course, my nigh-perpetually-empty pockets kept me from doing so, and eventually the title was removed from sale. This hurt me deep.

rangeriders1

Needless to say, there was an eventual happy outcome to that ‘ordeal’ (ha!). Here and now, some 17 years later, only mere weeks ago, I discovered that many, many of the westerns I wanted back then have since been put out on DVD by Alpha Video. I had been picking up some single-disc Bela Lugosi releases online, and on a whim decided to see what was available Ken Maynard-wise (one of my favorite B-Western stars). And lo and behold, turns out Alpha hasn’t just put out some B-Westerns, they’ve put out tons of them! And not just the usual John Wayne and Roy Rogers fare, either, but also really oddball, obscure titles. Stuff that, quite frankly, I’m surprised they’d even bother releasing. Indeed, there’s so many titles that were once sold by Sinister Cinema, I’m guessing a common source is shared between the two companies. Or not, I don’t know.

So anyway, over the last several weeks, I’ve steadily added to my movie collection many of the titles I wanted to order from SC so many years ago but missed out on. I was totally like a kid flipping through those catalogs again. And, it seemed that each time I figured “no way they’ve put this one out on DVD,” a quick search proved me wrong. Naturally, the movie would then duly became mine. Some silent Ken Maynard western entries? Mine.Also, Ken Maynard’s final starring vehicle, 1944’s Harmony Trail? Mine. Lightning Bill (aka Lighting Bill, and one that SC also raked over the coals in their synopsis)? I couldn’t believe it, but that too became mine.

You see where I’m going with this, don’t you? Range Riders = MINE. A dream realized, finally! And at a low, low price that even *I* can afford! Alpha Video, you are now my friend and I officially forgive you for tricking me into buying Fury of the Wolf Man on VHS so many years ago. (And by “trick” I mean “not tell me upfront that the film was essentially unwatchable, such was its badness.”)

So, the DVD, I’ve got it, it’s mine. Observation: one thing I really like about Alpha’s single-disc reissues of whatever is that they often (but not always) use original poster art for the front covers. In my opinion, it’s a simple and easy, yet undeniably attractive, design decision. Now, I’m not sure if the artwork for Range Riders is from the original poster or not, and a Google search isn’t telling me what I need to know. Could be the original poster, or a licensed-but-unrelated painting, or even something Alpha themselves commissioned for this DVD release. I have a hard time believing Alpha had someone take the time to draw up a cover for a movie only 8 people would be interested in owning, especially since they’ve mocked up perfectly serviceable covers for their Maynard releases using stock photos and whatnot (I guess; here’s an example).

But on the other hand, if this is something hailing from Range Riders’ original release, the art doesn’t really accurately reflect Roosevelt’s character or the action in this movie, though that wouldn’t be so out-of-the-ordinary (and would be least of the problems with this film, honestly).

Look, no matter what, the cover is colorful and attractive, okay? It belies the actual product, but that’s not so out-of-the-ordinary, either. Sell it however you can, Alpha!

rangeriders2

The synopsis on the back cover is about as helpful as it can be. No kidding, this movie is a mess on every front, and frankly, the most you’re going to gather from the plot is what the bare summary on the back describes. It’s less of a coherent movie and more like a bunch of vaguely-related scenes stitched together with some alarmingly stupid dialogue and horrible camera work. The fact Alpha felt the need to pad the description on the back with a mini-biography of star Buddy Roosevelt (an actor approximately 11 people know or care about nowadays) speaks volumes. Also, “Modestly budgeted” is an extremely polite way of saying “these things were cheaper than dirt.” And don’t let the color screenshots fool you, either; this is a black & white oater.

Also: Copyright 2010?! Yep, this has been out for awhile. Many (most?) of these Alpha B-Westerns have been out for years, actually. I believe my copy of Harmony Trail was copyrighted 2005. Obviously, I haven’t been paying enough attention! Otherwise, these would have all been mine long ago. To be fair, I’d never have thought the vast majority of these films would ever be sold by a real, on-store-shelves company; flicks like this, they just seemed like the sole territory of online specialty dealers. Not unlike Sinister Cinema, basically.

Even though these have been out for quite awhile now, I fear they won’t be in-print forever. These are just such niche western entries. I really wouldn’t be surprised if many of these were technically out of print now, and sellers are just still moving the stock they already have. (I have zero proof of that, mind you; I’m just saying that it wouldn’t shock me if it were true.) So, if you have any interest in films of this nature at all, I’d say ere on the side of caution and pick up a copy while you can – it’s not like these are all that pricey. Even though Range Riders is, without a doubt, an awful film, it’s wonderfully entertaining nevertheless. Think Plan 9 From Outer Space if you must; that kind of entertaining. If that kind of movie is up your alley, head on over to Amazon for a copy of Range Riders now! Please don’t let any of my criticism deter you from getting a copy. I don’t mean to steer anyone away from this one; on the contrary, Range Riders gets a HUGE recommendation from your truly!

rangeriders3

Now, B-Westerns aren’t high art. They weren’t intended to be. These were depression and/or wartime cheapies, serving mostly as matinee fare and aimed squarely at the kids. So, judging one of John Wayne’s early, poverty row features against, say, Stagecoach or Red River, it just wouldn’t be right. B-Westerns have their own set of standards, standards that exist solely within this sub-genre of the, uh, genre. I’m not the first to point this out, of course, but it’s an ideal that’s worth repeating, and certainly something to keep in mind while watching a B-Western.

But, even with the slack that must, by nature, be given to these films, Range Riders comes up short. Woefully short. I mean, this movie is B-A-D. This is quite frankly the worst B-Western I’ve ever seen in my nearly 20 years of watching them. I’ve never seen any quite like it, and thus, I couldn’t stop watching in slack-jawed wonder the thundering stupidity that raged across my TV screen. This movie is great in all the worst ways.

Apparently, the B-Western often considered the worst in the genre is The Border Menace (coincidentally also released by Alpha – need), but the Plan 9 From Outer Space comparison to Range Riders (helpful user reviewer BrianV over at IMDb nails this) is apt. Sure, there may technically be some that are worse, but Range Riders is so inept in every way possible, so obliteratingly dumb, and yet so wildly entertaining, that it really does recall Plan 9. A western by nature won’t have the obvious special effect deficiencies that a Wood film did/does; it’s not like they have cowboys riding paper mache horses. But horrendous dialogue and inept plotting? Range Riders has those to spare! (Not to mention terrible acting, awful editing, wildly inconsistent audio, and camera work that leaves much to be desired…)

When I threw this DVD in the player, my excitement to finally be seeing this flick was dampened only slightly by the Alpha Video bug in the top-right corner of the screen. I understand their reasoning, but I’m not a big fan of video companies doing that. Luckily, it only popped up during the opening credits and the ending card. It took me nearly 20 years to finally obtain this movie, so I can easily live with a little logo in the corner for a minute or two.

Also, “Superior Talking Pictures.” You know a movie is older than dirt when the company behind it touted their ability to include speech! If I recall correctly, Sinister Cinema stated in their catalog synopsis that Superior Talking Pictures were anything but, which is wildly spot-on. Oh, it talks, and it does indeed count as a picture, but superior? Well…

(This isn’t the only Superior film I’ve seen, but it IS the worst – though I haven’t cracked into Lightning Bill yet, so the jury is still out on this subject that probably only I care about.)

rangeriders5

So anyway, Range Riders. It concerns the “Bull Crawford Gang,” causing havoc in a Texas town. In fact, the first thing seen is them riding into a property auction and scaring off prospective bidders. Why? So they can get the land for cheap? Nope, they just want to eat! Seriously, that’s their reason for busting up the crowd; so they can have the free eats to themselves.

Up above, the gang is seen hassling “Pedro,” one of the protagonists and our comic relief for the duration. Pedro is clearly not Mexican, Pedro does not speak with a believable Spanish accent, and Pedro is so incredibly idiotic that merely calling him an “offensive stereotype” doesn’t quite seem like enough. He’s constantly doing so many stupid pratfalls and whatnot that just having him around seems like a liability. Some might even refer to the character as “mentally challenged,” and they’d have a real argument. I hate Pedro. (Or, as every character pronounces his name, “Pea-Dro.”)

rangeriders7

Further evidence the gang doesn’t so much terrorize the townsfolk as they simply annoy them a whole lot: when the owner (“Waldon”) whose land the gang has just trespassed upon begins shooting at them, Bull himself sneaks around the side of the house, and rather than simply plugging Waldon right then and there like any self-respecting gangster would, instead reaches his hands through the window and bonks Waldon and his card-partner Sutton’s heads together. It’s a moment straight out of The Three Stooges, and wow is it strange. Nothing says “big bad bullying gang” like some lighthearted head-bonking!

And then, just to make sure the viewer knows this film isn’t even going to try to be realistic in any sense, Bull steps back from the window, aims, and blasts a bottle of ketchup sitting on a shelf inside. The merits of this action are dubious at best, and Bull’s position and angle outside make it highly unlikely that he could have even hit the bottle, but it does provide another moment of “hilarious” comic relief in which Waldon believes he’s been shot (ketchup all over him, y’see) but then cracks up when the the real substance is revealed.”Oh, this criminal could have easily blown my head off but didn’t? Hilarious!”

rangeriders8

Okay, the film quality of Range Riders, obviously it’s not the best. It’s dusty and scratchy and so on, and I’m not convinced the print here wasn’t sourced from VHS originally (as Alpha’s Harmony Trail certainly appeared to be). Still, considering how cheaply it was made and subsequently how obscure it has become, I’m just glad it survives at all to this day. Films of a far bigger stature have become lost to time, after all.

That said, that screenshot above, don’t think that that picture accurately reflects the condition of the surviving print or Alpha’s transfer (or my screen-capping abilities, for that matter). Oh no, that’s the movie itself; astoundingly, it’s out of focus! Quite a few scenes in Range Riders are. In fact, that was one of the things Sinister Cinema harped on most in their catalog entry. At the time, I simply couldn’t fathom how a B-Western, as cheap as they usually were, could be that poorly produced. I kinda still can’t. Don’t get me wrong; I think it’s fantastic, though again, for all the wrong reasons.

I get it, I get it. It was the depression, and it was a poverty row film. Get it made fast and cheap, and get it out there. I understand how this could have been released in this state, but that still doesn’t lessen my astonishment at it.

(You want more astonishment? According to IMDb, and I admit I missed this the first time around, Range Riders has multiple actors in a single role, and multiple roles for single actors. Over the course of a 45 minute film! That’s a cheap movie! Read IMDb’s trivia section and see for yourself!)

rangeriders9

Following that mildly irritating bit of carnage, Sutton bets Waldon that his son Dick (who is away at “Agricultural College”) could take out this gang single handed. When Waldon expresses his doubts, Sutton decides to write him (with a letter that begins “My dear Dick,” which, you know, that’s something that would probably be worded somewhat differently in a movie nowadays).

Cut to “Agricultural College,” where Dick and a couple of friends peruse the letter. That’s our hero, star Buddy Roosevelt as Dick Sutton, above. The wispy little mustache doesn’t inspire much confidence in him, but whatever. Dick seems vaguely apprehensive about going back, until his friends mention that the gang will probably be waiting for him at the train station and he should wear a disguise. From some reason, that’s what convinces Dick to go home. No kidding, he gets a wondrous look in his eye and announces “That’s it, I’ll do it!” Evidently Dick is swayed by only the smallest details, and not the fact his father and/or his hometown are (ostensibly) in imminent danger.

From there on out, our story is fully in motion. It’s up to Dick to put an end to the Crawford gang’s reign of terror (such as it is). What follows is mostly a jumbled mess of half-realized plotlines, strung together with some atrocious editing and truly face-palm-inducing dialogue.

rangeriders11

This is our female protagonist, Elsie Waldon, as played by Barbara Starr. Starr wasn’t much of an actress, I’m sorry to say, and according to IMDb, she didn’t have very many films to her credit, of which Range Riders was the last. (What a way to go out!) Starr’s Elsie gets credit for (occasionally) being fairly gutsy, but she’s saddled with some truly moronic lines, which of course doesn’t do her character any favors.

Poor Barbara Starr. Her most notable achievements were marrying Harold Lloyd’s brother, starring in Range Riders, and now being immortalized on my stupid dumb blog. Just doesn’t seem right, man.

rangeriders10

Want some examples of Elsie’s incredibly dumb dialogue? Okay, take for example this scene:

Crawford’s gang does indeed show up at the train station to “greet” Dick. It’s mentioned that Dick’s father has been bragging his son was coming in that day – way to keep that element of surprise by doing the dumbest thing you possibly could, buddy! Elsie overhears the gang’s plans, and wants to alert the sheriff. When the local grocer (I guess) informs her that the sheriff won’t do anything because he needs the gang’s votes, she heads off to the train station b yherself, though what she could possibly do there is never explained. (And how many people live in this town anyway? 9? 10? Wouldn’t rounding up the gang that’s supposedly terrorizing everyone earn the sheriff enough votes to make up for the loss of Crawford’s bunch?)

Meanwhile, Dick has taken the advice of his friends and arrived in disguise, which is that of a froo-froo college boy. Geeky bow tie, beret, the whole shtick. (To Range Riders’ credit, this is genuinely funny, if that’s what they were going for). It works too, because the gang pays him no mind. He runs into Elsie, and she quickly realizes it’s him, however. The dialogue that follows is painfully stupid:

Elsie: “Why Dick Sutton, what are you doing in this clothes? Have you gone crazy?!”

What do you mean what is he doing in those clothes? Obviously he eluded the gang, didn’t he?! Deductive reasoning can work wonders, Elsie.

But wait, it gets better after he quickly explains his disguise to her: “Well, why don’t you go off to the ranch first and see your dad, and find out what it’s all about?”

Find out about what? You saw his dad write the letter, Dick knows why he’s there! That’s why he’s back in town in the first place! Dick himself says as much, when he says, with a twisted little grin, “I’d like to have some fun with that gang!” Elsie’s beauty of a response: “Aw c’mon, don’t start any trouble!” Don’t start any trouble?! You’ve already GOT trouble! They’re troublemakers! THAT’S WHY DICK IS BACK IN TOWN! I like how she shifts from being prepared to alert the sheriff and then going to the train station herself, to basically telling Dick to stay out of it. Make up your mind, lady!

rangeriders12

Dick’s idea of having “fun” with the gang is to rope five of them together, tie the line to a wagon, and then ride off. They almost instantly get out of the lasso, and since their horses are right there at the station, they’re able to give chase pretty much immediately. Boy, that sure was fun, Dick. There’s no way that’s not going to irk them mightily! Was that Dick’s main plan? Come back home and really, really annoy a gang?

An interminable chase scene follows. Out of nowhere, Pedro is there too, and of course he falls off the back of the wagon during it, which means Dick and Elsie have to circle around to get him. Man, is Pedro indispensable or what; why bother getting Dick back home when you’ve already got the incomparable Pedro on the premises?

At several points during the chase, there’s a close-up shot of Dick and Elsie in the wagon, going through the motions of riding; holding the reigns and the crop, bouncing up and down, etc. You know what would have been an even more convincing illusion of movement though? If they filmed this in front of a sky that didn’t feature a stationary cloud!

rangeriders13

Dick’s next course of action is to borrow some clothes from Pedro and masquerade as a Mexican bandit or something. The merits of this endeavor are, like so much else in this film, dubious. I mean, why? What benefit is there to the bad guys thinking he’s Mexican, or them knowing he’s Dick Sutton? It just seems like a superfluous gesture, is all I’m saying.

And really, all he did was change his clothes. Okay, he uses a Spanish accent too, but it’s not exactly realistic or convincing. Otherwise, his appearance remains the same as “normal” Dick Sutton. So again, what’s the point?

But then, the world of Range Riders is a world where characters like Pedro are considered useful. That is, the normal rules don’t apply here.

rangeriders14

At one point, to demonstrate their terrorizing of the populace, the gang takes a guy’s hat. Oh I get it, it shows their bullying in even the smallest matters or something like that. Nevertheless, Bull’s winking “Now you boys heard him give me that hat, didn’tcha?” after grabbing it comes off less like a rough and tumble gang leader and more like a cranky high school punk, but whatever.

This takes place outside of the local saloon, and while the newly-hatless man goes off to tattle, Bull and his gang head inside, where all he does is yammer about his “new” hat over and over. Seriously, he won’t shut up about it.

I love how hatless guy runs to the sheriff and gives him this line: “That man Bull Crawford is pickin’ on me sheriff! I want you to get my hat!” They actually gave those lines to a grown man! What, was the dialogue written by a kindergartner? “Oooh, big mean man pickin’ on me!”

Since it has already been established that the sheriff is a puss that won’t do anything about anything (“Aww, there’s no use causin’ trouble over a hat!”), it’s up to Dick and Pedro to head to the bar and retrieve the stolen item. They do so, and Dick then proceeds to make Bull eat a bar of soap; apparently Bull talks some smack about Waldon at this moment, but a convenient splice in the film renders the line MIA. No, really, Dick makes Bull wash his mouth out right in front of his gang. Again, Dick isn’t so much clearing the gang out of town as he is just messing with them. Still, it’s a scene that’s actually pretty funny…

…until Pedro trips and causes the distraction needed for the gang to start busting things up. Thanks for all your help, Pedro. Pedro’s failing in life is par for the course by this point in the film, so it’s no great surprise, but that doesn’t mean I can’t be filled with rage over it, either.

rangeriders15

Range Riders features some fight scenes that are so widely amateurish, they wouldn’t fool a blind turtle. Now, B-Western fights weren’t always operatic achievements, but man, they’re taken to new levels of downright silliness here. A scene where Dick swings around by a rope in the bar is just so unbelievably ridiculous; the idea is that he’s swinging around and kicking the bad guys in mid-air, but he never actually gains any momentum to do this. Rather, he just kind of bumps into them whilst hanging from the rope, which of course causes them to scatter as if they’ve just been hit by a wrecking ball or something. Did Superior think anyone would buy this? Even the kids had to have seen right through it!

And the fistfights! There’s some fistfightin’ alright, but they’re less drag-down, knock-out brawls and more like a bunch of guys just flailing their arms about all willy nilly. Buddy Roosevelt in particular, man, any hopes of him being a matinee hero had to have been shattered when audiences saw him winging his arms about wildly, without any discernible sense of genuine fighting ability. And since there’s no sound effects to accentuate any of the punches, the brawls all come off more like pillow-less pillow fights instead of the dramatic battles they were intended to portray.

The fighting action is lame, and Dick can’t decide whether he can hold his own or not. At one point, he’s seen taking on the whole gang at once and coming out victorious. But then later, he pretty much has his derriere handed to him, not that it matters, since the gang then rides off, leaving his unconscious body on the ground. Of course, they later pontificate on what they’d do to him if they had the chance! Does it get any more pointlessly incompetent than that?!

rangeriders16

There’s some nonsense about a map to a goldmine (owned by the wonderfully-named “Hardpan”) that takes up the focus of the last several minutes of the film, but it really just makes for more of the same action we’ve already seen. I do love how our protagonists are surprised, yet only mildly annoyed, each time the gang shows up; they’ll drive them off, figure they’re safe from then for awhile, only to be irritated when that “measly” crew comes back in short order! What, you haven’t figured out the M.O. of these guys by now? Did you just get Dick back in town on a hunch?

(And to prove she lacks the power of accumulative memory, Elsie again suggests they go get the sheriff.)

This is a B-Western, so of course there’s a happy ending. The Crawford gang is eventually defeated, rounded up, and brought to the sheriff, who I guess can’t ignore them any longer. In a shudderingly stupid moment, the sheriff drags them out of the car they’re contained in, and lets them walk into his office – unassisted and under their own power! Yeah, that’s believable!

rangeriders17

In a romance that wasn’t even hinted at prior, the hero gets the girl, but not before we hear this immortal bit of closing dialogue:

Elsie: “Now that you’ve saved Hardpan’s mine, you have got to stop being a bad Spanish boy!”

Dick: “Well then, I’ll be a gay caballero!”

You can file that under “movie lines that would have a totally different meaning nowadays.”

rangeriders18

Ah, another budget DVD for the pile (no, M*A*S*H season six isn’t actually a budget set, but I’m not taking another, rectified closing pic). And boy, was this one a doozy! After roughly 17 years of build-up, Range Riders did not disappoint. It’s everything Sinister Cinema said it would be – and more. It’s incomprehensibly inept in every facet, but don’t take that to mean you should avoid it. Oh no, it’s pretty fantastic. Like I said before, it’s wonderfully entertaining in spite of itself. You can’t help but stare at it in slack-jawed wonder. 1934 was a simpler time, for sure, but even so, this is exponentially amateurish. I wonder if Superior realized that, or if they even cared? Rumor has it this was filmed in only two days and on a budget of $2500, so I guess they’d take whatever they got. (And, as bad as it is, it’s not like I could do any better in that amount of time or with that budget.)

I know I’m six years late to the party, but even so, I’ve got to commend Alpha Video for finally making this and other mega-obscure B-Westerns widely available. I never thought it would happen, but it has, and I couldn’t be happier about it.

When people talk of good bad movies, you’ll probably never hear Range Riders mentioned. Which is a shame, because it’s a great bad movie. If I have anything to say about it, that will soon change, since this article will undoubtedly go viral several seconds after being posted. (Yeah. Sure. Uh huh.)

The bottom line is: the world must know about Range Riders and I will not rest until it does! Pick yourself up a copy and experience the magic for yourself!

WBNX TV-55 – The Ghoul’s Presentation of 1940’s “The Devil Bat” (January 28, 2000)

ghoul devil bat 1

A promise fulfilled!

Remember a bit over a month ago, when I babbled about my super cool budget Bela Lugosi DVD collection? You dont?! Well, that hurts me deep. Anyway, in that article, I mentioned my desire to review some locally-hosted Bela Lugosi, my attempt at a post regarding Invisible Ghost on The Ghoul, and my eventual termination of the whole project. I also mentioned my initial choice of Invisible Ghost over The Ghoul’s presentation The Devil Bat, which I soon came to regret. (The Invisible Ghost episode just didn’t give me enough to work with, y’see.)

Well, it’s rectification time! I dug out the VHS recording I made of The Devil Bat via WBNX TV-55’s revived The Ghoul Show way back in January of 2000, and needless to say, that’s our subject for today.

Even better, this is our first real episode of The Ghoul seen here at the blog! Oh sure, we saw 1982’s Poltergeist on the program, but that wasn’t really a Ghoul show, not the way it was meant to be, anyway. And yes, we did take a brief look at his 1998 Santa Claus episode, but that article wasn’t dedicated solely to him. Nope, this is our first real foray into the show that made up many, many of my Friday nights.

And no kidding, as soon as that opening montage above popped up on-screen (“IT’S THE GHOUL SHOWWWOW,” as performed by local band Destination), I was right back to almost-14-year-old me, relaxing on the couch on a Friday night at 11:30 PM. Powerful nostalgia, this one is.

ghoul devil bat 2

Unlike Invisible Ghost, which had a lot of content but not much I could adequately write about, this episode is an example of The Ghoul Show as I prefer to remember it. There’s a few skits, but most of the host segments are just studio-based screwing around, which, in my opinion, was when The Ghoul was at his best. This is laid-back, fun, Friday-night entertainment, courtesy of Ron Sweed’s legendary horror host.

You know what’s funny? I recall watching this episode as it aired (and as this recorded, obviously), but prior to pulling this tape out, I couldn’t remember nearly anything about it. And to be frank, I am 99.999% positive I never watched it again afterwards. This means that when I sat down to finally convert my VHS recording to DVD for posterity (a conversion that came out beautifully, thanks to my cute lil’ 6-head VCR), all of it was essentially new to me. This is about as close to recreating those Friday nights of my teen years as I can manage in this day and age.

I’m serious. That sense of anticipation for the weekly dose of Ghoul Power, it all came flooding back as I watched this, a feeling I wasn’t expecting to be nearly as powerful as it was. Everything just clicked this episode, making it a terrific example of just what I loved so much about those Friday nights over a decade ago. This isn’t high-art, nor was it supposed to be; this was (is) legit kick-off-the-weekend entertainment, Cleveland-style!

One thing I really liked right off the bat: there was a proper introductory host segment. Y’see, for many episodes, there’d be the opening montage, and then typically, a silly skit, apropos of nothing in particular but fun nonetheless. Why are there streamers and confetti all over The Ghoul in the screenshot above? Because it was his birthday weekend! Needless to say, that sets the tone for the rest of the episode. The show was always fun (well, maybe not always, when you take the “Sunday era” into account), but there’s a real “party” mood permeating this one, for obvious reasons.

We’ll get to all of that in due time, but first, the movie…

ghoul devil bat 3

1940’s The Devil Bat, one from Bela Lugosi’s poverty row output, in which he produces giant killer bats to attack his enemies. Less than a decade removed from the release of Dracula, and Bela was (mostly) relegated to doing films like this. On paper, it sounds downright insulting. And yes, it’s the kind of movie that should be so far beneath Bela, the script wouldn’t have been offered to him in the first place. Things didn’t work out that way though; Bela was typecast as Dracula somethin’ awful, and his heavy Hungarian accent didn’t help matters, either. So, as the 1940s dawned, he was increasingly forced to take projects like this one. Befitting a man of his stature? Not really. But, films like this kept his name visible to the public and money in his pockets.

Saying all of that kinda does a disservice to the film and Bela’s acting, however. No, it’s not the most highly-regarded thing he ever put out, but it IS immensely entertaining, and to Bela’s credit, he gave the role his all (he always did, no matter how weak the material). I can’t say this movie wouldn’t have been fun without him, but with him, it is undeniably a blast. But then, anything with Lugosi is worth at least a cursory glance, just because it’s Bela.

This exact broadcast was without a doubt my first time seeing The Devil Bat. The Ghoul had a wide-range of horror and sci-fi films during the “Friday era” of the show. Stuff as old (or older) as this or as recent as the 1990s could and would be shown. Because I was always a “classic movie” buff, flicks like this one were the most up my alley. And yet, as I’ve mentioned a few times on this blog, The Devil Bat didn’t really do it for me then. As a result, it left a sour taste in my mouth that lasted for years; it’s only in more recent times that I’ve fallen in love with it. Maybe it just didn’t hit me in the right mood that night. Or maybe it had to do with a couple factors regarding the version aired during this broadcast, which I’ll explain momentarily. I don’t know, but the fact is I didn’t care much about the film then. Luckily, I do now. Better late than never!

ghoul devil bat 4

Bela plays Dr. Paul Carruthers (given Bela’s accent, he doesn’t seem like much of a “Carruthers,” but whatever), who is not only the town doctor, but also a chemist for the local cosmetics company (“Heath Cosmetics”). Sounds like a plush gig? Not for Carruthers. Turns out the cosmetic company has made a fortune from Carruthers’ products, and Carruthers, uh, hasn’t. Carruthers himself is really to blame for the situation; when the company was first getting started, he asked for money up front for his concoction(s), rather than a buying a share of stock. This, needless to say, turned out to be a huge mistake, and he’s been salty ever since.

(However, while Carruthers is at fault for the initial decision, the company owners, Heath and Morton, tend to needlessly rub it in – even when they give him a $5000 bonus, it’s a pittance compared to what the company is actually earning.)

Just like any rational person with a grievance against their employers would do, Carruthers has decided the best course of action is revenge. Copying machines weren’t around for him to sit his derriere on yet, and he doesn’t seem like the witty-limerick-on-the-bathroom-wall kinda guy, which means that the only logical choice left is to create giant killer bats to carry out his revenge. I mean, duh!

Using electronic impulses or some crap like that, he enlarges one to big honkin’ size, which is in addition to training it to attack upon smelling a certain aftershave lotion, of Carruthers’ own design naturally. A killer bat prepared to tear you up is one thing, but it’s so much worse when it’s the size of a large dog.

ghoul devil bat 5

You see where this is going, don’t you? Carruthers tricks members of the Heath and Morton families into wearing his special aftershave lotion (ostensibly as a test before marketing), and then releases the titular creature from his own personal belfry (every mad scientist should have one), which then exacts Carruthers revenge for him.

Naturally, you can’t have a big giant bat flying around killing people for very long before the press starts nosing around. And sure enough, two big city reporters (one of whom is wonderfully nicknamed “One Shot”) soon waltz in for a scoop, and eventually put a stop to the whole thing. Well, one of them does; the other is basically comic relief (One Shot, of course).

Before the ordeal is over, you’ll be treated to shots of a rubber bat attacking people, a silly fake photo shoot, a couple of prerequisite love interests, a wildly ineffective (but surprisingly friendly towards the press) police chief, a bitchy newspaper editor, and enough outdated 1940s jargon to make you feel better about life. Plus, you know, Bela Lugosi.

With only a bit over an hour in running time, there’s not much time to screw around, and thus, The Devil Bat moves at a pretty brisk pace. It’s fast, it’s fun, it’s charmingly cheap, and it comes highly recommended by your Northeast Ohio Video Hunter. And as we all know, my recommendation is of tantamount importance. Otherwise, I wouldn’t give it!

ghoul devil bat 6

“W-w-what am I lookin’ at?!”

The Ghoul did not have access to the greatest print of The Devil Bat in the world. Not so hard to understand; nowadays we’ve got a couple really fantastic “official” versions on DVD/Blu-ray, but back then, you were limited to whatever had been making the rounds for decades. The Devil Bat is in the public domain, which means I could project it on the side of my garage while figuratively (literally?) thumbing my nose at Hollywood cause there ain’t no copyright on the film no more.

Beyond the expected scratchy, splicey nature of the print, the picture-quality was also pretty fuzzy – it almost looks like it was sourced from VHS. Which, fine, whatever, public domain and all that. More distressingly, however, is the fact that the picture is often incomprehensibly dark. (See: above.) No joke, there are long stretches of the film that, had I not already been familiar with it, would have left me utterly lost upon this latest viewing. Back in January 2000, this was perhaps one of the reasons the film didn’t endear itself to me.

Also, editing. You didn’t really tune into The Ghoul to watch a movie; the movie was just kinda fodder for humorous sound effects and whatnot. The Ghoul would pack so much into his host segments, that the film often felt like an afterthought, and the editing to make it fit into the timeslot sometimes made that abundantly clear. More often than not, a movie would be so chopped up, following it was all but impossible. The longer the movie, the less it would make sense on the show. Mind you, that’s not a complaint either; that was actually part of the fun.

At only about 68 minutes, The Devil Bat should have fit into the 2-hour timeslot allotted to this episode fairly unscathed. As it turned out, it’s easier to follow than a lot of movies shown by The Ghoul, but there are noticeable chunks missing, and some of them are pretty important. That fake photo shoot I mentioned a bit ago? Yeah, that’s not actually present in this broadcast, which thus renders some of the later actions (that are present in this broadcast) as pretty head-scratching to a first-time viewer. This probably didn’t help endear the film to me back then, either. Or maybe I just didn’t like it, I don’t remember.

What I don’t get is why there needed to be any movie-editing at all. Y’see, this episode runs just under 1 hour 50 minutes (not so unusual; The Ghoul always started on time, but when an episode ended wasn’t always set in stone). They couldn’t have filled out that unused 10 minutes with the rest, or at least more, of the movie? I don’t get it.

ghoul devil bat 7

But like I said, when watching The Ghoul, the movie was usually there strictly as fodder. That is, the various video audio drop-ins, the stuff Ghoulardi was doing way back in 1963 basically.

For The Devil Bat, there’s some funny audio bits; the Froggy “hi ya gang! Hi ya hi ya!” used whenever a close-up of a real bat is shown is great, as are the expected burps whenever someone takes a drink, incessant groaning whenever someone is killed, etc. On the video front, during a typical newspaper-headlines montage, clips of Cleveland Browns-related articles are inserted.

My favorite bit of movie-mockery here is something that The Ghoul was fond of using during his WBNX run: the fake-factoid bubbles. Remember Pop-Up Video? It was like that. Two examples of the phenomenon are, needless to say, pictured above. I loved these things back then, and I love them even more now; I had no idea who Dick Feagler was back in 2000, but I sure do now, which of course helps me actually get the gag. These bubbles aren’t as rampant during The Devil Bat as they were in other movies shown on the program, but I did love what was here.

ghoul devil bat 8

So, back to the show as a whole. As previously mentioned, it was The Ghoul’s birthday weekend, and even though it wasn’t stated during the episode itself, Ron “The Ghoul” Sweed was turning 50. The big 5-0! Of course there was celebration afoot!

This was demonstrated at the end of the introductory host segment; the crew threw The Ghoul a surprise birthday party! (Hence, the streamers and whatnot all over him throughout the show.) I have no idea if this was a real surprise party, or just something cooked up for the cameras, and there’s not a whole lot to the bit other general frivolity. But again, it sets the tone for the rest of the episode.

(I want that 60th anniversary King Kong poster in the background above, by the way.)

ghoul devil bat 9

A short, first commercial-break bit in which Froggy is caught looking through the dirty movies at B-Ware Video (he can’t find any with frogs in them), is then grabbed by Sick Eddie (who owned the store), thrown across the room, and then has the door closed on him – and I do mean on him. As Froggy skits go, it wasn’t one of the more elaborate ones, but then, any Froggy destruction is fine by me.

B-Ware Video was in Lakewood, a pretty far drive for me, and thus I only made it there once, for a Ghoul appearance in the Spring of 2000. The place was very impressive though, with a ton of rare, obscure movies for sale or rent – not the stuff you’d find on Best Buy’s shelves. It was fantastic. It was the kind of brick-and-mortar store that the internet, much to my chagrin, made obsolete in the following years (I *believe* B-Ware closed in ’05), but I’m certainly glad to have visited the establishment that one time.

ghoul devil bat 10

A very funny segment in which, as response to a viewer email stating “Big Chuck sucks,” The Ghoul claims he and Big Chuck are tight, and then pays “tribute” by showing the same two pictures of Chuck over and over while “Wind Beneath My Wings” plays and shots of The Ghoul sobbing uncontrollably are inserted between it all. This all goes on for just a bit too long.

On paper, it’s a bit that may confuse first-time or otherwise not-in-the-know viewers, especially if they happened to tune in while it was already in progress. Some may even claim it to be “stupid.” There’s no doubt it’s of only the thinnest premise. So why can’t I stop laughing at it?

(It’s important to note that The Ghoul and The Big Chuck & Lil’ John Show were scheduled against each other at that time. In the hype leading up to his television return in the Summer of 1998, I recall The Ghoul stating he hoped people would use their VCRs to watch both shows.)

ghoul devil bat 11

A “Soul of Ghoul” skit. The premise of these, and there were quite a few of them, was that the Soul of Ghoul, a black guy, was the polar opposite of The Ghoul in every way (“Yo Yo Yo” instead of “Hey Hey Hey,” white beard and mustache, black wig, etc.), and would constantly harass him in a Froggy-like style. In this installment, it’s the classic “shoe polish” trick, in which Soul of Ghoul places the substance on a telephone receiver (remember those?), and gets The Ghoul to answer it, with the expected results.

Somehow, the real meaning behind these skits went RIGHT over my head back then, though I of course get it now: these were a shot at Son of Ghoul. If the initials didn’t make it clear, The Ghoul’s declaration at the start of each sketch of “Now the brothers are rippin’ me off!” makes the message doubly-obvious. (Nowadays, he’d probably have to word that differently, too.)

At the time, I didn’t know about the legal troubles between the two in the years prior. At least, I don’t remember knowing about them then. I’d catch little shots from one against the other on their respective shows, but as I recall it, I never took those as anything more than a friendly rivalry kind of thing. I’d learn the truth later.

My stance on the matter? I grew up as a fan of both hosts, I liked the different comedic styles both brought to the table (which means that, to be honest, I don’t really agree with the actual premise behind the “Soul of Ghoul” bits), and I remain a fan of both today. I wish things had played out differently between them, but that’s all I’m going to (or really, can) say about the situation.

ghoul devil bat 12

Not so much a segment as a returning-from-commercials bumper, but nevertheless, with Groundhog Day right around the corner, this is a very funny, holiday-appropriate goof on Big Chuck & Lil’ John. Hey, let the screenshot above speak for itself…

ghoul devil bat 13

For this host segment, before heading into the real purpose behind it, a quick demonstration of the then-new Ghoul travel mug and Turn Blue Ghoul Brew is given. See, it can hold liquid! (And if it don’t make you burp, “You got a bad one!”)

Up until recently, the travel mug was still available new from The Ghoul’s official website, though a quick perusal of the online store reveals that it’s (apparently) no longer in stock. Turn Blue Ghoul Brew, on the other hand, hasn’t been around since, I guess, the early-2000s? Mid-2000s? I sure miss it though. It was blue root beer that turned your tongue the appropriate color upon imbibing. (There was a green, lemon-lime variant called “Froggy Squeezin’s” as well.)

I only tried the Froggy variety once (the nearby DeVitis Italian Foods carried Ghoul drinks), and it was good, but I loved the Ghoul Brew. Very tasty – and it really turned your tongue blue! I’ve still got an unopened bottle (maybe two) floating around here somewhere.

ghoul devil bat 14

Immediately following that, it’s time for “Frankenstein Online,” later deemed “Frank-On-Line.” I remember the character, but I had totally forgotten about the early iteration of him. Lemme explain…

The gag was that the Frankenstein monster was real, and his body had been located, reanimated, and kept at the “Brownberry Institute” in Maryland. The torso remained there, but the head was on loan to The Ghoul. Contrary to popular opinion, Frank didn’t get a bad brain, he was just “nurtured badly.” (The Ghoul muses that if political correctness had been around back then, it could have been a whole different scenario.) Turns out, Frank’s very intelligent! And to prove that, viewers were invited to email him from the Ghoul’s website and ask for his advice!

The version of the bit I remembered was Sick Eddie, in green face paint, bolts, the whole deal, his head sticking up out of a table, dispensing advice is a mock-Frankenstein voice that to this day I find gaspingly funny. What I had forgotten, however, is that the character started out as a fake plastic head, and The Ghoul ‘voiced’ him off-screen. As The Ghoul’s intro makes clear, this was a very new addition to the show; it’s funny, but I’m glad they fleshed (Get it? FLESHED! HAW HAW H…aw never mind) the concept out a bit more.

For this installment in the soon-to-be long running segment, a viewer asks what he’s gotta do before asking a girl out on a date. Frank’s response? A series of incomprehensible grunts and yells! It’s not a segment that would have worked for very long doing the same thing every time, but here, it’s very funny.

ghoul devil bat 15

There was at least one more of these gag segments (that I can remember), and I think what I like most about them was that they were always played ‘straight,’ as if this were a serious interview.

“Teen Idol” David Crosby (it’s not really him) stops by The Ghoul’s set to catch up on matters. This time around, The Ghoul asks him about his being a, uh, “donor” to Melissa Etheridge. Crosby responds with something along the lines of “Well, I have an album called 4 Way Street, so I decided to go another way!” Ha!

His “kid” is then presented; she looks just like him! In fact, she got everything from him – everything but his liver, that is!

ghoul devil bat 17

The Ghoul had a long-running, good natured “feud” with legendary local anchorwoman Denise Dufala. It was obviously all in jest, but hardly a week went by where a shot (sometimes literally) at her then-recent CD (I’ve got a copy!) wasn’t taken.

This bit was filmed during the holidays (hence the Santa Ghoul sleeves), and repeated endlessly, which was and is fine with me, because I love it. Simply put, The Ghoul was inside the WOIO offices (?), and as a final prank before leaving, he placed his fake beard and mustache on Dufala’s official picture. The screen then froze on the image, while Carl Carlson’s “She’s a Bad Mama Jama” played longer than necessary. Good stuff!

ghoul devil bat 18

A short, random segment (I guess a good many of Ghoul segments could be considered random!) in which Froggy shows up without being implored to “plunk his magic twanger.” This clearly displeases The Ghoul, who then tosses some lady fingers at the amphibian, causing him to be duly carted off by some “paramedics.”

When Froggy explains that it’s been awhile since he’s been by (hence the showing up unprovoked), The Ghoul’s almost nonchalant response of “I don’t care!” cracks me up.

ghoul devil bat 19

For me, one of the biggest highlights in any episode was “The Ghoul’s Vault of Golden Garbage,” in which a vintage Ghoul skit would be presented. The chance to see material from the 1970s or 1980s, waaaaaaay before my time, it was fantastic.

That’s not quite what this installment was, though. It was an older bit presented, but not a vintage one. Rather, it’s a clip from 1999, and was actually the intro to one of my very favorite episodes (Attack of the Mushroom People). It’s definitely fun, and funny, and a good example of those non sequitur, apropos of nothing intros I mentioned earlier, but still, it wasn’t some new-to-me 1970s sketch, and that was (is) a little disappointing.

One of the crew must have found a busted “self-service” greeting card maker on the curb or something, gutted it, and brought it to the studio for a skit. Here, The Ghoul throws his money in the machine (“$3,95?!”), but when he attempts to make his own card, all he gets is a note stating “Wait a Second.” He soon discovers Froggy is in the back of the machine, which then causes Ghoul to rock the machine back and forth, throw it to the ground, and then tie a chain around it and drag it, via truck, around the parking lot until it falls to pieces!

Random? For sure. But, you know, I really do love it. I guess I can overlook it being of a then-recent vintage…

ghoul devil bat 20

Jungle Bob time! JB! My buddy!

Years before he began appearing on The Son of Ghoul Show, this was how I was introduced to Jung, by his appearances on The Ghoul Show.

I learned some great stuff from JB on those shows, including some facts I’ve managed to retain in my memory banks all these years. (At Monsterfestmania, JB confirmed my recollection that if I were to drop a tarantula, it’s abdomen would straight-up ‘splode!)

For his appearance here, JB brought some shrimp (one of which The Ghoul accidentally dropped – it was fine), one of those cool fighting fish PetsMart is always shilling (I taunted one once; it slammed a fist through the glass jar at me*), and some tadpoles, which naturally prompted a return visit by Froggy; The Ghoul proceeded to swing him around, which resulted in his arm accidentally ripping off! (Froggy’s arm I mean, not The Ghoul’s.)

ghoul devil bat 21

And that was pretty much it for the episode. (There was an obligatory model car blown up; I didn’t bother grabbing screenshots of that one. Besides, we all know what the best Ghoul blow-up ever** was!)

Before bouncing on out, The Ghoul presents a gift given to him by the crew: a talking Robbie the Robot doll! And then, after a final mention of it being his big birthday weekend (he won’t be able to make the Saturday WNCX 98.5 FM radio show he co-hosted with Mr. Classic at the time because of it), that was it, the last Ghoul Power for a week. It was always bittersweet seeing him bounce out of the studio at the end of each show, because it was over. Until next week, anyway.

I had a LOT of fun revisiting this episode. As I said before, this was basically all new stuff to me; I hadn’t seen this since it initially aired, so not only was it full of constant surprises, but it was just an all-around funny, entertaining show, to boot. Plus, it definitely gave me much more to work with than Invisible Ghost did.


Commercials! Commercials? Yes, commercials! 2000 is still just a bit too new for there to be a whole lot of vested interest in them for me. I mean, they’re a huge nostalgia boost personally when seeing them in action, but as far as writing about them goes, well, I’m not so sure.

Nevertheless, here’s a few (but just a few) I can kinda sorta babble about…

WBNX TV-55 The Lost World Promo

ghoul devil bat 22

WBNX excelled in hour-long, syndicated shows. It was like a constant stream of lazy Saturday afternoon fare, but almost all the time (‘cept prime time, that is; that was the WB’s turf). The Lost World was one such series, and despite loving the 1925 silent film, I don’t think I ever took more than a cursory glance at the syndicated series. Good? Bad? The hell if I know. I assume it was about people stuck in a dinosaur-inhabited territory. (Gee, what a guess!)

In all seriousness, nowadays, I probably would give this one more of a shot – maybe.

WBNX TV-55 Total Recall 2070 Promo

ghoul devil bat 23

Take everything I said about The Lost World above, ignore the dinosaur reference, and think of Arnold Schwarzenegger but not really. Do that…and you probably still wouldn’t have a clue about Total Recall 2070. I probably watched less of this show than I did The Lost World – and that’s saying something!

You know, I referenced the “Sunday era” of The Ghoul earlier. Some of these shows (Total Recall 2070 and The Lost World) were run after The Ghoul at certain points during that period. In fact, because I let my tapes keep recording loooong after The Ghoul was supposed to be over, I’ve captured examples of both, and probably more. I suppose if I were feeling adventurous enough, I could dig the tapes out and give ’em a try, but, meh.

Ody’s Tailors & Clothiers Ad

ghoul devil bat 24

ODY’S! Now this one, I just love it.

Ody’s Tailors was located very, very close to me at the time. Indeed, it was thanks to his commercials during The Ghoul that when it came time for my 8th grade graduation, I insisted, insisted that I get my suit from Ody. And I did, too.

This ad is ostensibly for Ody’s retirement sale, 25% off everything in the store, etc. But truthfully, these “retirement” ads ran for quite awhile; I’m pretty sure I recently saw one on an old tape of mine from 2002 or 2003. That was actually a good thing, since I didn’t graduate until the Spring of 2001 – I’m glad Ody was still around. He was ridiculously friendly. I’m glad we could throw some bidness his way, even if it was just that one time.

The WB Zoe…Promo

ghoul devil bat 25

I think I can count on one hand the number of WB shows I regularly watched. I’m not sure there were any, to be honest with you. Well, maybe one or two, tops.

And yet, thanks to promos aired during The Ghoul, I can certainly remember a good number of them. Zoe… is a good example of that. This promo is for the second season premiere of what was originally titled Zoe, Duncan, Jack and Jane. Obviously, they shortened the name to, officially, Zoe… (It’s pronounced, literally, Zoe Dot Dot Dot in the promo). I never watched either iteration, though for whatever reason, the original title made the show strike me as a ‘unique’ sitcom.

Lex Luthor from Smallville was in it, as was Selma Blair. That’s her in the left screenshot above, and it’s only now that I truly realize she was cute as a button.

WBNX TV-55 Unhappily Ever After Promo

ghoul devil bat 26

I realize this promo is from after the show ended and was thus in syndicated reruns by that point. Even so, it still counts as a WB series, and one that, even though I didn’t watch it very often, I actually kinda liked whenever I did happen to tune in. I don’t know if it holds up for me; it tends to be compared or related in some way or something to Married…With Children, which I know hasn’t held up for me. Nevertheless, I had more experience with Unhappily than I did poor Zoe… above.

The actual episode this promo is for? Something about each family member having fantasies or living out their dreams or something like that. Look, I’m at over 5000 words for this article now, I’m tired.


 

What a huge, huge shot of nostalgia this recording is! It’s like a nearly-perfect summation of just what I loved staying up late Friday nights to watch The Ghoul. Almost everything about it clicks, from the skits to the movie to even the commercials (yeah, I kinda gave those short-shrift here, I know; they’re fun in action, but there weren’t all that many writable ones – ‘cept Ody, anyway).

The Ghoul wouldn’t remain like this a whole lot longer; that coming fall, he’d be moved to Sunday nights, his movie selections ruined, his skits, host segments and movie drop-ins scaled waaaaay back. The entire show that had been building up since the Summer of 1998 would more or less be totally destroyed in one fell swoop. ‘Course, I didn’t know any of that was ahead. I’d suspect neither The Ghoul nor his crew knew, either.

I can’t really say this Devil Bat episode is my favorite, though I do think I’d put it in my top 10, if I were ever bored enough to make a list such as that (and rest assured, I taped so many Ghoul shows over the years, I could if I wanted). Even though I hadn’t watched it since the initial airing over 16 years ago, boy, I enjoyed nearly every second of it. Consistently entertaining, and a hugely nostalgic presentation; I wish every old recording of mine met those criteria!

 

*Aw, you know it didn’t, I was just kidding, chill out.

**In my humble yet-totally-biased opinion, of course!