Tag Archives: 1942

Episode Recap: The Son of Ghoul Show “Mr. Wise Guy” (March 6, 1999)

With Son of Ghoul’s big 31st anniversary show this weekend, and indeed, his actual 31st anniversary today right now yo, what say we take a look back at a vintage episode? I always like doing these. (My wi-fi currently hates me and wants me dead, so if I blaze through this, particularly in the second-half, that’s why.)

31 years is unbelievable for any television personality, but especially so when it’s the endangered-species known as “horror host.” Ironically, 31 almost seems a little, I don’t know, anti-climatic, I guess, after the massive hype that surrounded his big 30th last year. I certainly covered it, and was even present when SOG was fittingly honored at Monsterfestmania.

I thought of a couple different topics to post in honor of his 31st continuous year on Northeast Ohio television. I could’ve covered the earliest episode I taped (The Vampire Bat, in 1997), or his 12th anniversary show, or even the episode featuring the first piece of mail I ever sent in to him. I even briefly considered an article detailing a lot of the SOG memorabilia I’ve amassed over the years. I decided against each one of those, however, for a variety of reasons: I’ll save my earliest taped episode for the 20th anniversary of the broadcast this fall, I didn’t feel like covering Frankenstein’s Daughter during his 12th anniversary, and I’m not ready to detail my cringe worthy (yet nostalgic) first letter to him. As for an article focused on SOG memorabilia, I just couldn’t muster up the moxy to drag all that stuff out for a picture-taking session.

Nope, I decided on our subject today for one very simple reason: I just plain like the movie, 1942’s Mr. Wise Guy. Heck, I just plain like the episode in general, and to me that speaks more about my Son of Ghoul fandom than any ‘special’ occurrence I could dig up. After all, this was how the show usually was (is) to me each weekend: A fun, kick-back-and-chill movie showcase.

So, join me now as I detail The Son of Ghoul Show, as aired on WAOH TV-29 in Akron and WAX TV-35 in Cleveland (“The Cat”) and taped by yours truly waaaay back on March 6, 1999…

(Also, I’ve been on a real kick for The Cat lately, even more so than usual. This comes from that late-90s sweet-spot of the channel, so I’m happy with the choice. And, if that kick keeps up, I may dig something else out from the station to cover. You keep pushing me and I just might, pal.)

I vividly recall this being a surprise episode. Y’see, SOG was on twice-a-week at that point: 8-10 PM, Fridays and Saturdays, same episode. This was handy, because you could sample on Friday, and tape-as-needed on Saturday. But, for whatever reason, he was only on Saturday that week, a fact he briefly mentions in his intro (above).

I think (think) he was preempted totally the night before due to some women’s college basketball tournament The Cat was broadcasting/simulcasting/whatevercasting. So because he was only on Saturday that week, I couldn’t risk missing a must-have episode, especially with no knowledge of what the movie would be. Because said basketball tournament was concluding that Saturday, there was no telling when SOG’s show would actually begin; I had to start the VCR recording waaaaay ahead of time, which was why I wound up with like an hour of that stupid basketball game on the tape before the episode started.

This obsessiveness proved fortuitous. That night, we were at my aunt’s house for some party I was quite probably miserable at, and I flipped to The Cat to see what episode I was capturing. When it finally started and Mr. Wise Guy was revealed, I was pleased as punch. SOG had ran this film, I don’t know, a year or so prior, and I had regretted not capturing it then. I actually liked the movie!

And I wasn’t the only one; SOG himself mentions that he likes it as well during his intro. How often did (does) that happen?!

The reason I initially liked this film so much largely had to do with what it represented: A trip back to a more innocent time in cinema. This is pure, early-1940s matinee entertainment. It’s an East Side Kids (you know, the Bowery Boys, except not) film, so there’s some light hooliganism about, but even with that, an escaped convict, a murder, a death-row sentence, and a real-life war going on, it’s all so light and breezy that it never seems too heavy. I’m hesitant to ascribe the term “innocence” to a film that contains all that, but like I said, this is matinee entertainment; it’s not exactly a weighty, socially-conscious drama.

The idea of an East Side Kids film showing up on a horror hosted program may seem odd, but as SOG states during his intro, Ghoulardi himself used to run these (and fittingly, on Saturdays!). If these were good enough for Ghoulardi, they should be good enough for any other host, too. And somehow, to me they seem to ‘fit’ just fine. Maybe that’s because I grew up with SOG showing them occasionally (still does, in fact), but looked at objectively, they still work. It’s not like a b-western, which unless it shared some horror influence or other odd quirk (Terror of Tiny Town, anyone?), just wouldn’t seem to fit. Look, I can’t really adequately explain why it works so well, it just does.

And, in a trend that continues to this day, SOG doesn’t tamper with these kinds of films; no drop-ins, no sound effects. Just the movie straight. Evidently he has some real appreciation for these flicks, and we’re all the better for it. Even when missing those elements so well-known to SOG fans, it flows perfectly.

The title of the film comes from a moniker given to (and approved by) Leo Gorcey’s character “Muggs” McGinnis (first name: Ethelbert), who is deemed so several times throughout the picture.

The simple synopsis of the plot: The East Side Kids are sent to reform school. There’s a bit more to it than that, though. Unjustly accused of stealing a truck (a truck that, unbeknownst to them, houses an escaped convict), they’re sent to a reformatory run by a kind warden, a cruel guard, and a couple of troublesome inmates that are secretly in cahoots with aforementioned cruel guard. Also on the docket: Bill Collins, older brother of cast member Bobby Jordan’s Danny Collins, is accused of murder and sentenced to death row. Eventually these plotlines unbelievably though perhaps predictably, collide. And since this is from 1942, it all ends on a relatively happy note. ‘Cept for the dude who died, anyway.

Needless to say, much of this is played for laughs. Even while incarcerated, Gorcey’s gang never seems too concerned with their situation. Even as Danny frets over his brother’s predicament back in the real world, the other guys just sort of blow it off – which admittedly does play out a little strange. I can’t imagine that being realistic even back in ’42.

Still, as a whole, the movie is entertaining. Indeed, I wasn’t sure if I’d still get a kick out of it when I sat down to convert my VHS to DVD for this review, but it greatly held my attention throughout. I was even genuinely amused by certain moments, which can’t always be said of semi-comedies of this vintage.

Look, the movie is in the public domain, so don’t just take my word for it; check it out for yourself. Since SOG didn’t add any sound effects, you’ll see it (almost) as it aired here!

(Fun Fact: Some years ago at a thrift store, I stumbled upon a 3-VHS boxset of East Side Kids films. Included were both of their Bela Lugosi collaborations, Spooks Run Wild and Ghosts on the Loose, as well as the title that really spurred the eventual purchase: Mr. Wise Guy. I never watched any of them, don’t think I even played any of the tapes, and subsequently the set became buried in my mound of crap videos. It should still be around here, somewhere, which is good, because unknown to me at the time was that the company who put it out, Passport Productions, was spawned from the ashes of Amvest Video, who we’ve seen here before. Cool winnins!)

Unfortunately, the movie isn’t perfect, and it doesn’t have much to do with plot, but rather stereotypes that were prevalent at the time. Ernest Morrison, often known as “Sunshine Sammy,” is the victim of some unfortunate racial jokes, as his character “Scruno” is the outlet for some now-wildly-inappropriate stereotyping. Look, I don’t claim to be a super-PC-advocate, but man, even I was uncomfortable with some of the gags at his expense.

That said, I am an advocate of not editing things of this nature to reflect current social attitudes. Yes, some of the jokes have aged terribly, but they reflect the time in which the film was made; you can’t rewrite history, only learn from it. And besides, the jokes are incredibly dated, but never really mean-spirited, if that counts for anything.

And with all that said, we now come to the rest of the show…

The first skit proper is actually an old bit from the WOAC TV-67 days, and I love it because it perfectly sums up SOG’s sense of humor, which very often syncs up with mine.

In a parody of the whole “carrying the Olympic torch” thing, here SOG dutifully marches with a plunger triumphantly raised, only to enter the studio bathroom and begin plunging! That’s all there is to it, and it’s great!

Truth be told, SOG doesn’t feature heavily heavily into this episode. I mean, he does, he shows up after each commercial-break, but it’s not new bit after new bit after new bit. His hosting duties, while prominent, maybe aren’t quite as prominent as they usually were, and I think that has much to do with this spot right here.

In a segment that takes up a healthy chunk of running time, SOG and guest Carl Thompson speak extensively on the Frightvision convention, coming later that month. Yes, Frightivision, the SOG-hosted horror convention; we’ve talked about it before! Here, SOG and Thompson thoroughly go over the list of guests and events coming to the show, and it goes on for around 8 minutes, which is pretty much a lifetime in horror-show-time.

That’s not a complaint on my part, though; I could not be happier this segment is present! I talked more extensively on the convention in the piece I just linked to (another SOG episode, Plan 9 From Outer Space, which aired later that same month), but Frightvision was a BIG deal. It was also my very first horror convention of any kind. Long story short: I positively loved it. I got to meet Ben “Gill Man” Chapman, Mark “Lost in Space Guy” Goddard, SOG’s own Fidge (who was great), saw Tom Savini (but didn’t meet him until the following year), and came home with some very cool loot (including a vintage SOG TV-67 promo card, which I still have to this day). All of the fanaticism that manifests itself in me for each and every Ghoulardifest began at the very first Frightvision, and for that I hold the fondest of memories.

So yes, seeing the segment that so aptly demonstrates the swirling hype surrounding Frightvision in the weeks leading up to it, that’s the sort of thing that can take me directly back in time. And movie aside, to me this is the defining moment of this particular episode.

An email segment. More (!) information on Frightvision is presented, and a spider glove that apparently belonged to Fidge is shown. Unless y’all want me to go email by email, there’s not much more I can say about it.

I would love to show the old school, wildly obsolete SOG email address, back when having an email address was still semi-innovative, but in the interest of avoiding confusion, I’ll refrain.

In the second mail segment, the reading of letters devolves into a long, drawn out explosion of fake fart noises, which has SOG and his crew dying with laughter. SOG: “Can you tell we’re so easily amused here?” Like the toilet torch earlier in the show, it’s a juvenile, and therefore riotous, moment. This is the stuff that helped cement my sense of humor, gang. You want someone to blame? Blame SOG.

Because my wi-fi is in a seemingly-perpetual state of precariousness, there were two other bits amidst all this insanity that I’m choosing to skip. One, a “Captain Kanga-Ghoul,” and the other, an on-location interview at a liquor store that happened to be one of Frightvision’s sponsors, were fun, sorta-filler bits, but frankly, I don’t have all that much to say about them. Also, I’d like to punch my wi-fi in the face.

Also, here is the point where I’d usually look at interesting (or so I think) commercials that aired during an original broadcast. I’m going to skip that feature this time around. Why? Because basically all of the ones I would have chosen were already covered in that previously-linked Plan 9 From Outer Space SOG episode recap. And the other, a goofy homegrown promo for a showing of Reefer Madness, was briefly looked at in the The Cat article I linked to way at the start of this post. I love it when I do my own work for me!

It all works out though, because I can end this article in accordance with the way this show itself ends: As the outro opens, SOG is seen jokingly patting his phony beard back into place, along with a “We’re not done yet!”

But, it’s what he says right after that that sums up not only the conclusion to this particular episode, but also the continuing 31 year odyssey his show has been on: “They say you’re not done till the show’s over! Or until you’re out of toilet paper; then you’re done!” I think I can speak on the behalf of SOG’s many fans when I say I hope SOG never runs out of toilet paper.

Boy, that sounded so much more philosophical in my head.

Happy 31st anniversary, Son of Ghoul!

(PS – I’d be remiss if I didn’t link to my legendary, groundbreaking, earth-shattering, trendsetting interview with the man himself!)

(PPS – They may not have been able to repeat this year, but man, I still love the Cleveland Cavaliers. I’ll stick with you guys win or lose! Just thought I should mention that somewhere, since the loss is naturally still on the mind of so many Northeast Ohioans right now.)

Amvest Video’s Grampa Presents VHS Series: 1942’s The Corpse Vanishes (1988)

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Last year, I started the new year off right with Superhost hosting Bela Lugosi in 1931’s Dracula. Now, I’m starting this year off right, with Al “Grampa” Lewis hosting Bela Lugosi in one of the films he was relegated to doing after Dracula, uh, typecast him somethin’ fierce. Do I know how to live or what!

Hopefully you’ll recall my last Halloween post, in which I looked at Amvest Video’s release of 1939’s The Human Monster as part of their “Grampa Presents” video series of 1988. There was a long line of these tapes, but none of them are all that easily found nowadays, which meant that I really wanted one, any one. I mean, Al “Grandpa Munster in all but official name” Lewis hosting a bunch of cheap, primarily public domain movies? I need that in my life as much as possible.

Fortunately for my video collection (though unfortunately for my wallet), the acquisition of that first tape touched off a severe wave of, well, I don’t want to say obsession, but somewhere around that description. I thought I’d be happy with one or two, but in the months since that initial article, my Grampa Presents collection has grown to include a nice chunk of titles from the series (plus one of the horror movie trailer compilations Lewis hosted for Amvest, which is obviously related but not quite part of the line). Not too shabby considering I only got my first tape in early October, I’d say!

(And truth be told, even ‘regular,’ non-Grampa-branded Amvest releases of these movies have proven to be an area of high interest to me. I’ve managed to gather up several of those, too.)

Much of this had to do with the fascinating backstory, or lack thereof, regarding the line: basically, no one is quite sure how many of these Grampa Presents tapes were actually released. There is a long list of titles attributed to it (which we’ll get to in a bit), but only a portion of those have been confirmed to, you know, exist. Some of them pop up from time-to-time online, but then there’s others that have been confirmed but almost never show up. Even though I’ve managed to acquire a bunch of these tapes since that first one in October, I still stand by my statement in the earlier post that they range from “highly obscure” to “impossibly rare.” And those are just the ones I/we know about!

Anyway, needless to say, the saga continues now, with one of the titles in the series that’s on the easier end of the spectrum to find (relatively speaking), but was nevertheless one of my personal chasers…

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Bela Lugosi’s 1942 poverty row opus, The Corpse Vanishes. Cool winnins!

If you’ve read that Halloween post, you’ll know there were some problems with that first tape: namely, it was recorded in the wrong speed. Thus, the tape ran out out before the movie was over! This hurt me deep, but not as much as it would have had it been a movie I cared more for. I’ve never been big on The Human Monster (aka Dark Eyes of London), but The Corpse Vanishes is a different story; I’ve been fond of the film ever since first seeing it on Son of Ghoul waaay back in 1997 (one of my very first episodes – I had only begun watching Son of Ghoul a few weeks prior).

Because I actually like the movie, your Northeast Ohio Video Hunter was going to be exponentially more irked if there was something wrong with this tape. I’ll say upfront that all is well as far as that is concerned. It played from start to finish without incident, and given the EP recording speed, the picture quality wasn’t exceptional but certainly passable. Considering these videos were strictly budget affairs the whole way around, I was pleasantly surprised.

(Over the course of amassing these titles, and even the non-Grampa-hosted Amvest releases, I’ve learned a lot about the ups-and-downs of them. Indeed, thanks to how much more I know about all of this now, this is probably going to end up being the article I wanted to write last time. I know I’ll end up repeating a few things I said the first time around, so please bear with me.)

The cover art, though simplistic, is appealing. If you go and search out other images of the Grampa Presents line, you’ll see that the artwork can vary wildly from release to release. Some tapes use the original movie posters as a template, some (such as this one) use a real photograph, and others use hand drawn original artwork that can range from okay to, well, lets just say the hand drawn stuff sometimes isn’t the best. Make no mistake though, even the goofier-looking ones I love; these things have charm to spare!

As for this The Corpse Vanishes, like I said, it’s simplistic, but overall still very cool. The Bela image is appropriate, and the red and gray color scheme is attractive…

…Aw, who am I kidding? It’s all about the Grampa banner at the top. It totally takes the cover from “competent” to “I should probably have a poster of it made for my bedroom wall.” I’m seriously considering printing out copies of that “Grampa Presents” header and fixing them to some of my favorite tapes just to make them look better. “Grampa Presents: The Giant Spider Invasion.” “Grampa Presents: The Creeping Terror.” “Grampa Presents: M*A*S*H – Goodbye, Farewell and Amen.The possibilities are endless!

I should be getting a million dollars a week for these brilliant ideas.

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For as good as the front covers (can) look, the back covers are always pretty plain. Indeed, before you actually put the tape in the VCR, that’s where the budget roots of the video are first evident (unless you got one of those particularly cheesy-covered ones, in which case, that’s where the budget roots are first evident). Not that that bothers me in the slightest; budget tape charm and all that.

As far as the movie synopsis goes, it’s not exactly comprehensive or anything, but the one used here for The Corpse Vanishes isn’t quite as perfunctory as the descriptions on these tapes can be. Okay, it’s a straight two paragraphs without any frills, but hey, I’ve seen worse.

‘Course, it’s totally the “Grampa’s Ratings” feature that makes the back cover: three bats and the declaration of “GHOULISH GREAT!” AND it’s topped off with (ostensibly) Al Lewis’ personal signature to let you, the video consumer, know that this has his personal guarantee of quality. That’s awesome.

No kidding, for old public domain flicks like this, there were (and are!) untold multitudes of releases. So, something, anything that could make one particular version stand out from the rest could make the difference between an eventual purchase or continued shelf languishing. And you know, I think that’s another one of the things that I find so appealing about these releases; sure, there are countless ‘normal’ copies out there, but when you’ve got the option to watch the movie with Al Lewis bookends, well, why not take it? Sure, you may have to contend with some tracking issues, and no, the print used for the film won’t be Criterion Collection quality, but the ‘spooky horror hosted’ vibes of the tape easily makes up for all of that.

Also, I totally just thought of “Grampa Presents: Godzilla Vs. The Smog Monster.Man that would that be awesome. I should be getting two million dollars a week for these brilliant ideas.

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There’s the cute lil’ tape itself. If you go back to my first Grampa Presents post, you’ll see the difference in the tape casing and reels. The Human Monster was in a more standard case but with thick, white, mega-cheap wheels. This one however uses more standard reels and a casing akin to the kind Memorex used for their late-1980s/early-1990s blank VHS tapes. (Not so unusual there; I’ve seen copies of Batman ’89 with the same casing.) Unlike The Human Monster‘s LP recording, The Corpse Vanishes is, as I said, in EP/SLP.

That anal-retentive description above isn’t just me being particularly pretentious; I do actually have a point to make. And that is: I’ve come to learn that there just isn’t any rhyme or reason to any of this. I’ve got a nice cache of individual Grampa titles, as well as several ‘plain’ Amvest titles, but there’s almost no standard formula to any them. Casings and reels vary between them, and more importantly, so do recording speeds. The majority were recorded in EP or LP, though there are some SP tapes out there, Grampa Presents included (of which I have three). As far as the Grampa versions go, the SP tapes seem to usually have a sticker of some sort on the back stating the fact (like this one), but EP and LP tapes have no such distinction. If you want to know before actually playing the tape, you generally have to look at the reels themselves (and with tapes that have larger wheels inside, that can sometimes be difficult), or gauging the weight of the tape itself (general rule of thumb: the heavier, the better).

Something else you need to be on the lookout for: Grampa’s host segments aren’t necessarily on each and every one. Yep, despite the appropriate “dis got Grampa” packaging, some tapes only feature him on the sleeve; the movie itself doesn’t feature the Al Lewis bookends. Four of my tapes demonstrate all the pomp and circumstance of Grampa, but he’s nowhere to be found on the actual recording (and three of those four are the aforementioned SP-recorded ones, so maybe those were later issues of some sort?).

Since both Grampa and non-Grampa releases of the same movie share identical catalog numbers, and because there’s nothing that singles out one version or the other on the actual label affixed to the tape itself, it’s certainly possible that opposing editions could accidentally be thrown into the opposite box, or maybe even as a substitute when they ran out of the ‘appropriate’ version? I’m just spit-balling here.

Or maybe, and this is just another hypothesis on my part, they didn’t want to pay licensing fees for Grampa’s filmed segments anymore (provided there were licensing fees; I don’t pretend to know how this all initially went down), and began intentionally leaving the host segments off of later tape runs, but kept paying to use his image on the cover for the “name” factor? Remember, the sleeve promises us Grampa’s guarantee, but it never actually says he’s going to be hosting the movie. Maybe Amvest eventually decided to go the Gene Shalit route?

BUT WAIT! Conversely, my Amvest copies of First Spaceship On Venus and Missile To The Moon are plain, no Grampa on the artwork, and yet, his host segments are included on the actual tapes! Surprise cool winnins! So theoretically, any Amvest, supposedly-non-Grampa release from 1988 under their “Vintage Video” subsidiary (which goes back to at least 1985, but those are more reminiscent of the Goodtimes tapes in cover-style from the period, and pre-date the Grampa Presents series by three years anyway) could conceivably be unmarked Grampa titles!

Like I said, there’s no rhyme or reason to any of it. Just when I think I’ve got a handle on matters, something comes along that makes me rethink everything I thought I knew beforehand. I’ve had my preconceived notions, and time and again they were dashed.

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Lucky for me, The Corpse Vanishes does indeed include the Al Lewis intro and outro. This is a good thing, because I can easily see this movie as-is any number of ways, and if watching it via a cheapie VHS from the 1980s is the way I wanna go, there are plenty of options available there, too. All it takes is a quick run through eBay and a couple of bucks in my pocket. (Though after getting all these Grampa videos, the latter is decidedly tougher than the former!)

But by now, it’s pretty obvious to anyone taking even a cursory glance at this blog that I prefer my horror movies, uh, horror hosted. Oh sure, I love ’em straight too, but having grown up with all of the Northeast Ohio movie hosts (as well as the enduring fondness for the local hosts before my time, i.e. Ghoulardi), I have a strong affinity for anyone dressing up in cheesy/spooky garb and throwing out hackneyed puns. These movies are just so much more fun that way, at least to me. Plus, it’s an aspect of television broadcasting that has largely (but not completely) fallen by the wayside, making it all doubly-interesting to me.

Needless to say, horror hosting had its roots in television, but by the late-1980s, when home video had not only become entrenched as a de facto part of any well-rounded entertainment center but had also progressed to the point where it was actually feasible to have budget tapes such as this, the genre also found a place on home video. I.V.E.’s Thriller Video spearheaded the concept three years prior with their Elvira-hosted tape series (which we’ve seen here before), and in some ways (I also said this in that Halloween post), Amvest’s Grampa series feels like a more cut-rate version of those Elvira tapes.

Al Lewis’ Grampa was a natural fit for hosting horror and science fiction films, and a year before he started this Amvest series, he began hosting movies for TBS’ Super Scary Saturday, which we’ve seen here before, too. The Amvest Grampa Presents series was quite a bit lower-budget than the TBS show; these segments were shot in front of a green screen, with Grampa superimposed over still-images.

The very beginning of this intro, I hope you’ll recall, I didn’t get to see last time; the start of that tape was basically “in progress,” and by the time the tracking and whatnot had settled to a watchable state, Grampa was already into his pitch. Luckily, it’s all complete on The Corpse Vanishes, though the program starts playing early enough that tracking is still a bit of an issue.

So what did I miss the first time around? Not that much; shots from, I’m pretty sure, White Zombie open the whole thing. Then a two-framed, single-colored bat flies on-screen, neon lightning bolts hit it (to signify transformation, though it doesn’t make much sense when you think about it), and then, there’s Grampa! That’s right, the tape posits that Al Lewis has the power to transform into a cartoon bat at will. That…is pretty fantastic.

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For the Amvest tapes that actually include the Grampa footage on them, these host segments are the same for each and every one. What, you thought Lewis was gonna film a unique intro and outro for each and every title? Nope!

So, after that whole bat-transformation thing (and a few token movie clips, ostensibly from other films in the series), the scene then shifts to a Dr, Frankenstein-like lab. This is where the tape we looked at last time essentially began. It’s basically Al Lewis being Al Lewis; he had his shtick down to a science by that point. So, when he’s forced to banter with an off-screen “Igor” or explain to the audience that he’s not Paul Newman (apparently, people get them confused!), it actually does come off pretty funny. It would have been easy for this all to come off flat, awkward, forced, or what have you, but Lewis is so sincere and energetic that you can’t help but get a kick out of the whole thing.

I love the backdrop for this part of the intro: like I said, it looks like Frankenstein’s lab, albeit a still of said lab, and it’s accented by random neon-squigglies, which, you know, 1988 and all that.

There is one thing different for the respective intro of each tape: at one point during the opening segment, there’s a space where a voiceover (“Igor”) announces the title of the movie and who stars in it, all while Lewis looks on expectantly. ‘Course, sometimes (many times!) they forgot to add the voiceover, which means Lewis exclaims “that’s the one!” to absolutely nothing, which is actually pretty funny, albeit unintentionally (I said the same thing when I reviewed the Human Monster tape, and the trend continues not only on this one, but on several other Grampa tapes I have).

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And that brings us to the movie itself: 1942’s The Corpse Vanishes. I really, really like this movie. Like I said earlier, this tape was one of my personal chasers in the series, and it was basically because of how fond I am of The Corpse Vanishes.

This is one of the poverty row, cheapie horror films that Bela Lugosi was increasingly relegated to doing as the 1930s wound down and the 1940s began. Sure, he still had ‘big’ pictures now and then (1939’s Son of Frankenstein, 1941’s The Wolf Man, etc.), but his output was becoming increasingly less glitzy. I mean, by the last decade of his life, he was starring in Ed Wood movies, which were the very antithesis of glitzy!

It was all a double-edged sword; sure, films like this kept Bela working and in the public eye, but for a performer that started out as a star of big-time, A-list films, it had to sting.

That said, regardless of the source material, Bela was still magnetic. You can’t help but be entertained by the guy. It’s no exaggeration to say that he saved even the least of these films all by himself; a star of lesser magnitude probably wouldn’t have been able to pull it off. It’s the same deal with Boris Karloff and Lon Chaney Jr.; if their names are on something, it’s worth at least a quick look, because they were that good.

Furthermore, many of these low-rent Bela flicks have lapsed into the public domain. The Corpse Vanishes, obviously, but also others (like The Devil Bat and The Ape Man). The good news there is that, back in the day and today as well, there’s always something with Lugosi’s name on it out there on store shelves. Make no mistake, Bela is still a name draw. Sure, these public domain films (with the possible exception of White Zombie) aren’t really the definitive way to introduce someone (or yourself!) to Lugosi’s work, but they’re cheap and readily available, and if nothing else, like I said before, the guy had a magnetism about him that carried even the weakest films in his canon.

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As for The Corpse Vanishes itself, no one will ever claim it to be among Bela’s finest work, but taken for what it is (a wartime, poverty row horror film), it’s definitely an entertaining watch. It’s so simple, quaint, and despite the plot of a mad botanist killing virginal brides, somehow innocent. It almost seems like the kind of movie that could have only come out in the 1940s, with all of the ‘big’ Universal horror flicks of the previous decade to take inspiration from, and all of the sci-fi stuff of the 1950s yet to come. Sure, it’s something that probably could have been made in the 1930s, but it just feels so 1942.

The plot, yeah, it’ll sound like fairly formula stuff. And you know, it is. I’d never argue otherwise. But again, taken for what it is, it’s still fun. Lugosi plays a mad scientist (gee, you don’t say!), one Dr. Lorenz, who has a shrewish, aging wife. Wifey wants to stay young and beautiful forever, so Lorenz concocts a plan wherein he’ll poison the orchids sent to brides on their wedding day. When they collapse from said poison (and appear dead, though they’re really not), he kidnaps the body and takes it back to his lab (hence, “The Corpse Vanishes”). Once back at the lab, he extracts vital fluids from the bride and then injects them into his wife, which temporarily renews her youth.

It’s a scheme that has any number of holes in it (and it doesn’t take much for the viewer to realize that, either), but Lorenz goes ahead with the plan anyway. Eventually, this all attracts the attention of journalist Patricia Hunter, who is eager to get a story out of the deal, and sets off to get to the bottom of things…

Look, you don’t have to rely solely on my word for any of this; this film has been in the public domain for years, so check it out for yourself here. It’s only a little over an hour long, so have at it next time your favorite prime time drama is in reruns!

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Despite the inherent cheapness of the film, it still manages to pull off some pretty cool scenes. I mean, geez, Bela and his wife sleep in coffins! With movies like this, where the budget is obviously on the really cheap side, the idea of the baddies nappin’ in coffins is a good, simple way to get the creep factor going, even though it’s become a pretty common trope. Heck, it was probably a common trope back then.

But, in that small way, the movie even more recalls 1931’s Dracula, and that can never be a bad thing when Lugosi is in the vicinity (even if it does plays into that typecasting that hurt his career so much).

They sleep in coffins, man!

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Another cool aspect: Bela’s basement laboratory.

I really like Bela’s mad scientist lab. It’s not especially expansive, and it’s clearly limited by Monogram’s $5 budget, but at the same time, it’s so sincere. The very presence of a cut-rate lab just adds volumes to the film, though I’d be hard pressed to really explain why. Just seems more ‘complete’ that way, I guess?

Bela’s got a cool lab, man!

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Oddly enough, the ending card is rendered as a still-frame, complete with the dust and whatnot frozen in it, all while the music continues to play. I’m not sure if Amvest themselves did that, or if that’s how it came to them. The who and why of this I couldn’t say, but it’s a little strange.

In addition to countless budget videotape releases such as this one, The Corpse Vanishes was also the subject of an early episode of Mystery Science Theater 3000, which is probably how many people recognize the film nowadays. Being one of the first episodes of the national iteration of the series, it’s not one of their stronger efforts, though things always go better with MST3K.

‘Course, things always go better with Al “Grampa” Lewis, too…

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Which brings us to the part I was totally begrudged the first time around: Grampa’s outro segment. Like his intro, these were always the same for each tape.

Playing off his whole “comical undead vampire” act, the first thing he says once returning from the movie is “Oooh, that was so scary, it scared the blood right back into my veins!The Corpse Vanishes is many things, but by 1988, I really can’t see too many people finding it genuinely frightening. Was it even that scary back in ’42? Anyway, Grampa then follows that statement up with “Blood and gore, that’s my meat and potatoes!” That applies even less to The Corpse Vanishes, but the dialog absolutely adds to the atmosphere and general theme of the tapes nevertheless.

Plus, the outro segment was the same for every movie presented in the line, so what can you really expect in the way of accuracy?

That said, given the jokey Grampa open and close to the tapes, and most of the titles in the series, much of it is (well, was) pretty safe for the kids to watch. I made this comment last time, but it seems like these tapes would make good TV viewing for those that were too young for trick-or-treating but still wanted a Halloween experience.

Well, most of the movies fit that bill, anyway…

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This is the part I was pretty bummed about not having on my first Grampa Presents tape: after coming back from the movie and goofing around for a bit, Lewis then presents a “complete” list of titles in the Grampa Presents line!

This is important, because this is the only solid listing we have (that I know of anyway) for the Grampa Presents titles. Now, it’s highly doubtful that all of these were released with the Grampa branding; some of these were released by Amvest back in 1985, though with the same catalog numbers as given here. My guess is that all of these movies were, at some point, released by Amvest, but not all of them featured Grampa.

I make that distinction because Lewis himself says that each and every one will be presented by him, which, I’ve got four releases (Monster From Green Hell, Giant From The Unknown, The Living Head, and The Last Woman On Earth) that have him on the cover but not actually hosting. But then, I also have two that don’t mention him on the cover but he does host (the aforementioned First Spaceship On Venus and Missile To The Moon). I said it before, I’ll say it again: there’s just no rhyme or reason to any of this.

Throughout the scroll, Lewis speaks via voiceover, making generic comments such as “Ooh, I remember that one!” When he’s not being generally excited over the offerings, he’s yelling at the unseen (and unheard) Igor about his eating habits; apparently, Igor refuses to learn how to use a knife, fork and spoon.

I said before that this shtick was funny rather than awkward. Mostly, it is. However, for this spot, it’s clearly just filling time. I mean, it makes sense; it was either have Lewis babble in the background or have dead silence as the titles scroll, I get it, but yeah, his dialog here is amusing but pretty much just filler.

The list of titles consists mostly of standard public domain stuff: The Little Shop Of Horrors, The Terror, and so on. But, there are some really surprising offerings, too. Alice, Sweet Alice and The Incredible Two-Headed Transplant are there, and those are both confirmed to have actually been released. (They’re also definitely NOT for kids!) And, there’s a few that haven’t been confirmed to have been released as part of the Grampa Presents series (that I know of) but MAN I hope they were; namely, Night Of The Living Dead, Godzilla Vs. Megalon and Vampyr. You have no idea how badly I’d flip if I stumbled across any one of those three at a thrift store.

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After the scroll finishes, Lewis then goes into where you can actually buy these tapes. You need to look for the tapes with his face, which as we’ve seen, wasn’t quite true, though I doubt Lewis knew that while filming. (In an argument with the still unseen and unheard Igor: “Forget Tom Selleck with the mustache and everything! MY face and the official ratings are on the box!” That’s right, Al “Grampa” Lewis just referenced Magnum while pitching horror movies – now THAT is awesome!)

What’s more, there was a specific Amvest “Casket of Horrors” display for video stores; how cool is that! Given the rarity of most Amvest tapes nowadays (both with and without Grampa on ’em), distribution was almost certainly very limited. I’d like to say for every 20 online listings for a similar title from Goodtimes, there’s only 1 for an Amvest, but even that wouldn’t be true; Amvest tapes are generally few and far between.

Therefore, I can’t imagine too many of these “Casket of Horrors” displays making it out there, and even less surviving to this day. Who knows if any were even produced beyond the one seen in this outro. Nevertheless, it goes without saying that I. NOW. NEED. ONE. Coolest Halloween party decoration ever!

As far as I’m concerned, it just doesn’t get much cooler than the image above. That screencap succinctly sums (allitration) up everything that is right with these tapes and the whole horror movie ideal that they present so vividly. Would it be wrong for me to create posters of that image above and hang them all around my house? Because I’m coming dangerously close to doing just that.

Well, maybe just one to hang up somewhere…

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AND, if you couldn’t find one or any of these tapes in an actual brick-and-mortar store (and odds are most people couldn’t), Grampa gives you the details on how to order direct from Amvest! And even with ordering direct from the company, these were budget affairs; $13 was a pretty cheap price for a VHS tape in ’88. Granted, you wouldn’t be getting something on par with a, say, CBS/FOX release, but still…

Rahway is pronounced “Raw Way,” to which Grampa takes particular delight. “These are our people! That’s the way we like it – raw!” I’ll let you make up your own mind regarding that bit of dialog.

I wonder what happened if/when someone ordered a tape that didn’t actually exist as a Grampa version? Refund? Replacement? Given that this info is shown right after the list of videos supposedly available, while I don’t think each and every title had a respective Grampa Presents version, my guess would be that, at the very least, the person ordering would get a non-Grampa edition. Like I said before, I suspect there were Amvest releases for all or most of these, but which ones were released with some form of Al Lewis involvement is the big question here. I don’t know, and it seems nobody else really does, either.

Anyway, keeping up the act to the very end, Grampa admits that the 4 to 6 weeks delivery time is due to the bats in your neighborhood not flying that fast. Yeah, Al Lewis posits that your tape would be delivered by a bat. How can you not like the guy when he says things like that?

Grampa’s final pitch? Go out and buy Amvest videos, because if you don’t, one night when it’s dark and you think you’re alone, you won’t be – he’ll be there. He then bursts into that famous Grampa laugh as the screen fades out and then into the final image of the tape:

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As a final touch, the copyright info contains computer-generated blood steadily dripping down the screen! And to make things complete, ‘spooky’ music plays in the background! Very, very cool!

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The Corpse Vanishes is public domain, and thus, there is no shortage of varying releases. Mystery Science Theater 3000, Son of Ghoul, any number of other horror hosts out there, any number of cheapo DVDs out there, free and clear online downloads, there are countless options available to you. It’s not even remotely hard to find a copy of this movie.

But, if you want to watch the film in a way that only the late-1980s video era could present, Amvest’s release of the movie via the “Grampa Presents” line of tapes is the best way to go. It’s not perfect, it’s not a restored print of the film or anything like that, but as far as sheer coolness goes, it’s hard to beat. This is a perfect slice of late-1980s budget VHS memorabilia, one that I am absolutely thrilled to have in my collection.

Will I ever do another post on one of these tapes? Well, probably not. Maybe if/when I get the ever-elusive Grampa Presents version of 1922’s Nosferatu, or a previously ‘unknown’ release, but otherwise, I’d just be saying the same things about the Al Lewis segments over and over, with only the movie review portion changing. I mean, you never know, but as of right now, I’m pretty happy with this one as my final word on matters.

I’ve actually wound up gaining a real respect for Amvest. They had a real quirky sensibility, and as these Grampa tapes prove, they occasionally went out of the usual budget video “domain” and did their own thing. When I started collecting these (only a few months ago), I never thought I’d feel that way.

Furthermore, in whatever small way I may have helped unravel some of the questions regarding these Grampa Presents tapes, even through the confusion and disappointments, I enjoyed progressively learning more and more about them. There just aren’t many companies and their associated video releases that I can say that about.

And needless to say, I still want more of these! The search will continue! I won’t rest until I can fill an entire shelf with Al Lewis-hosted cinema!


Hey, wait, hold up! We’re not quite done yet!

I’d be remiss if I didn’t include the entire list of Grampa Presents titles as given during the end segment of this tape! Besides numbering them and correcting a few grammatical errors, I have also gone ahead and listed the titles that are actually confirmed as being released as part of the Grampa Presents series. Besides what I personally own, I am citing The VCR from Heck (these two pages specifically), VHSCollector.com (this page in particular), the Mike’s VHS Collection page over at Cinemasscre, as well as various online sales I have personally seen. Also, here’s a specific thread on the subject over at the Our Favorite Horror Hosts forum. (And yes, I plan to share what I’ve learned there as soon as this page goes up!) Please check out those sites once you’re done here; there’s a wealth of information not only on these Grampa Presents tapes, but on so many other subjects, as well.

Keep in mind that while this is the complete list of titles as given on this tape, the ones marked as “confirmed” are by no means the final say on the matter. These are just the ones that *I* am aware of. If you know of or even own one that hasn’t been confirmed as existing, hey, speak up in the comments! (Pictures would be helpful, too!)

And of course, the possibility exists that this actually isn’t the complete list of titles; there may well have been further videos released that included the host segments or appropriate packaging. I have no evidence of anything like that ever happening, every title I’ve found or seen has corresponded appropriately to this list, but hey, you never know!

(* = 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.)

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]

———————
Special Compilations:

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]

New Generation Video’s Superman VHS (1989)

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I found this tape last night at a thrift store I seldom visit and, quite honestly, often actively avoid. This particular place rarely has much that interests me, and what it lacks in Northeast Ohio Video Hunter-appropriate fodder it more than makes up for in crowds of annoying people (often with children that could safely be described as “feral”) which are usually completely and utterly oblivious to anyone or anything outside of their direct range of vision. What’s more, aside from a select few fluke moments, they don’t carry VHS/Beta tapes of the recorded-from-television variety, which further decreases my interest in the store. To their credit, one of those fluke moments resulted in several ‘okay’ scores. To their discredit, another fluke moment resulted in a tape containing, unbeknownst to me prior to purchase, dirty, dirty porn. Since your Northeast Ohio Video Hunter doesn’t like nor want dirty, dirty porn, never mind someone’s used dirty, dirty porn, this was a further strike against the joint.

Nevertheless, I wouldn’t be a good whatever I am if I didn’t make the occasional trip to the place, even if it’s just a token visit. And that’s really all I intended last night’s pilgrimage to be. Make no mistake, last night’s visit wasn’t exactly one for the books, but I did come away with the above-seen Superman tape, and I did leave without the overwhelming desire to hit somebody, so I’m calling it a successful visit. It doesn’t hurt that I’m a total sucker for budget Superman tapes.

That has much to do with my formative years, though. I mean, did any of us not grow up with the Fleischer/Famous Studios Superman cartoons of the 1940’s? I know they were a balanced part of my childhood, and given the sheer number of cheapo VHS (and now DVD) releases over the decades, I suspect the same for untold numbers of other people. Not that Superman is unique in that area; the public domain status of the cartoons (not to mention the enduring popularity of Superfella in general) have made them easy fodder for countless fly-by-night company releases, but the same can be said of any number of Popeye shorts, or Looney Tunes/Merry Melodies, and so on and so on. Needless to say, the tape seen above is one such release.

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As a young babychild, I had three similar Supe tapes, only one of which has survived to the present day. The one that’s still with me is a fairly competent release in terms of packaging and whatnot, but the other two were, to the best of my recollection, both from the same company and were much more slipshod affairs. I can’t remember the last time I saw those two tapes (literally, God only knows what happened to them), but the amateurish packaging was apparent to even my 4-5 year old eyes. We’re talking sad artwork with mismatched colors and so on. I’d like to think if I came across copies of those tapes somewhere, I’d be able to recognize, but hell, for all I know, I already have identical copies, and I’m just not realizing it. By no means is this the only budget Superman tape I’ve bought over the years, and considering pitiful artwork is a hallmark of said releases, they tend to all sort of blend together in my increasingly cluttered mind.

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Actually, part of the personal appeal of this particular release is that it’s decidedly more competent than your average budget VHS release. Seriously, the quality-level falls somewhere in between those childhood Supes tapes, leaning more towards the “competent-but-still-only-worth-the-$2-it-originally-retailed-for” end of the scale. No one’s going to be fooled into thinking the tape contains anything pulled from the archives of whoever, of course, but the artwork is good and, despite the absence of any kind of description on the back, there are no misspelled words, which is a mild surprise. It really all comes down to the artwork: it almost looks too good for a tape of this nature. Really, aside from the yellow on Supe’s boots (which may have been standard at one point, I really don’t know), it’s a darn fine representation of the Man Of Steel. Even the logo, which usually looks decidedly hand-drawn on these releases, is pretty professional looking. I wouldn’t be surprised if the pic and logo were ripped from an actual Superman comic or press release or something somewhere.

The semi-slick lookin’ artwork on my copy is marred only by the presence of two pieces of tape that must have been coated with the most adhesive substance in the universe. Look close at the pics of the front cover and you’ll see. This tape can not be removed without tearing the box, which in a bizarre way is kinda sorta fitting; Superman may be indestructible, but so is the thousand year old scotch tape on his box.

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Yeah, I’m thinking the logo and pics used on the front and back of the box were pulled from somewhere else. I mean, as much as I love Superman, I’m not exactly a die-hard, hardcore Superfan, but I’m still pretty sure I’ve seen these images before, especially the artwork on the back of the box. So, is that sort of thing allowed? I’d guess not, since most budget releases of the Superman cartoons featured clearly ‘homemade’ artwork (no joke, some of them were legitimately ass-ugly creations.) That said, considering the distribution of this tape was probably in the tens of, well, tens, I’m assuming it either never came to the attention of DC Comics, or it did and they totally laughed it off with the wave of a hand and an “aw pshaw!” Or, maybe the artwork was slightly redrawn for this box, thus somehow legalizing it?

The only reason I’m mentioning all that is because isn’t DC Comics or Warner Bros. or whoever owns all this insanely protective over that sorta thang?

Also, how long was New Generation Video around? Internet searches are of no help whatsoever, regardless of what combination of words I type in. At any rate, I can’t think of any other releases by them, and the sad but true fact of the matter is that I have more knowledge on this subject than should probably be legally allowed. That said, I’m far from an expert on the matter, and the world of public domain cartoon VHS tapes was a murky one indeed, often consisting of tapes with hazy-at-best origins. Now, I’m not suggesting this NGV should be lumped in with those other, more mysterious tapes or their companies (at least we get an address and barcode on the back), just merely observing.

While on the subject, I remember Mom taking my Brother and I to the D&K Discount Store in the State Road Shopping Center waaaaay back in the summer of 1997, and there were tons of tapes similar to the one we’re looking at today. Who made them? Where did they come from? That info is lost to time, but what I can tell you is that I strongly suspect this NGV tape came from a similar store.

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Three cartoons doesn’t seem like a lot, and of course they’re not, but that was par for the course for tapes like this. To New Generation Video’s credit, at least it’s not one or two Supes shorts and then unrelated ‘toons padding out the rest of the tape, as was so often the case. The episode titled “Superman” is actually “The Mad Scientist,” which is one I’m well familiar with from my childhood, and the one I’d consider my favorite not only of this bunch, but of all the Superman cartoons. The other two, I’m actually not that familiar with. I don’t recall them from my childhood tapes, and thus am less nostalgic for them.

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There’s a close-up of the New Generation Video info at the bottom of the back of the tape’s sleeve. Innit the logo cute? The approximate 30 minute running time is close enough; the tape runs around 27 minutes, so, yeah.

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The label, obviously. This is the only place on the tape that any kind of copyright date is found. Note the presence of “NGV Vol. 13,” which is also found on the sides of the tape’s sleeve (scroll back up and look if you don’t believe me.) So, there were ostensibly12 other New Generation Video releases, at least. I love the defective tape warranty on the label; rather than simply shelling out another $2-$3 for a new copy from wherever this originally came from (I refuse to believe this cost more than that, even back then), someone would rather piss away $2 on shipping and handling, plus the cost of sending the defective tape itself back, and then waiting 4-6 weeks for a replacement? Dude, screw that.

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Uhhh Ohhh!!! Is my tape’s defective?! Has that warranty expired yet?!?! I guess that explains the rattling I’d heard ever since I picked the tape up. To be fair, I discovered this in the store before I bought it, but since the other side of the tape’s flip-door was still attached, I figured it would work fine. I’m a renegade that way.

And I was right, my VCR accepted the tape without qualms, and spit it out without blowing up, so all is well on that front. That said, go back up two pics and look at the tape label. Notice the standard “adjust tracking” line. Never has that disclaimer been more apt than this tape. The tracking was really rough, and the following screencaps were the best results from the fruits of my labor.

(To be fair, I was running this tape through a VCR that has at this point ran through approximately 500 million ancient VHS tapes, including some of questionable quality from a condition-standpoint. Maybe the part of my VCR that handles the super-fine trackin’ required for this video is just shot, I don’t know.)

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As for the cartoon themselves, the best I can say is that I’ve seen worse. If the tracking wasn’t constantly throwing hissy fits, these would be unspectacular-but-serviceable representations of the Superman cartoons. Of course, there were scratches, there was dust, and as the screencaps attest, the color varied from cartoon to cartoon.

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But, these shorts have certainly looked worse over the years. I was actually kinda surprised to find these looking as decent as they do. Maybe back in the day when there wasn’t 25 years under the tape’s belt and it was played on a decent VCR, things looked even better.

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Like I said, I’m not all that familiar with these two. I could watch them and write out a dissertation, but I’ve already invested far too much time into a budget VHS that only I and maybe 8 other people care about. Apparently, “Terror On The Midway” was the final Supes short produced by the Fleischer Bros., before they were outed by Paramount and “Fleischer” became “Famous Studios.”

I can also say there seems to be odd cuts between the Superman intro screens and the episode titles seen at the beginning of the shorts. “The Mechanical Monsters” is missing an end card entirely, merely fading out and then into the start of “Terror On The Midway.” Also, “Superman”/”The Mad Scientist” was the very first in the Superman series of cartoons, but includes a Famous Studios intro card, rather than Fleischer. As much as I like these shorts, I don’t know every detail of their history, so maybe these are all aspects common to other tapes.

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Uh oh! Cool splicin’! Or something like that. This Paramount ending card comes from the conclusion of “The Mad Scientist,” and it was did done treated poorly at some point. In general, the body of all the cartoons look okay, but the beginnings and ends typically look rougher, as it so often goes.

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That’s it, New Generation Video’s 1989 Superman tape. I never thought I’d be able to find as much to say about it as I did, but now that I’ve given it a semi-thorough review, I suspect Superman Superfans the world over will now be climbing over each other for their own copy.

If nothing else, at least I got something out of that thrift-trip last night.