Tag Archives: horror hosted movie

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: 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, with 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!

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!

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

amvest corpse vanishes 13

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…

amvest corpse vanishes 18

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.

amvest corpse vanishes 19

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.

amvest corpse vanishes 20

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.

amvest corpse vanishes 22

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.

amvest corpse vanishes 2

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).

amvest corpse vanishes 3

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.

amvest corpse vanishes 4

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!

amvest corpse vanishes 5

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!

amvest corpse vanishes 6

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!

amvest corpse vanishes 7

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…

amvest corpse vanishes 8

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…

amvest corpse vanishes 9

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.

amvest corpse vanishes 10

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…

amvest corpse vanishes 11

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:

amvest corpse vanishes 12

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!

amvest corpse vanishes 21

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]

Thriller Video – Elvira Hosts 1957’s The Cyclops (1985)

elvira cyclops 1

I’ve mentioned before just how revelatory eBay was to me in the late-1990s. I first signed up in 1999, and already being a burgeoning video collector, it was positively jaw-dropping to see the multitudes of obscure, out-of-print, sometimes just plain weird tapes for sale that, otherwise, had long, long disappeared from store shelves. The options were virtually limitless, and it was made all the better when the other, non-VHS crap you could buy was taken into consideration. If you had the money (and being around 13/14 years old at the time, I rarely did), things that were absolutely unobtainable prior could now be yours relatively easily. As long as you were willing to pony up the bucks, anyway.

‘Course, the eBay of the past was also a bit of a no man’s land, what with buyers that may or may not actually pay (PayPal wasn’t around yet; snail-mail money orders were the common method of payment), sellers that may or may not send the item, and retaliatory negative feedback that could be thrown around if one party so much as thought the other was scrunching their nose at them. A lot of policies have been implemented since then, and though eBay seems to favor buyers over sellers more often than not, for what it’s worth I think things are better now than they were in the late-1990s. You still hear cases of people getting cheated from time to time, but at least there are more protective measures in place.

Anyway, while those days of constantly searching eBay in hopes of finding collectible VHS tapes are more or less over for me, there are still some videos that give me that old feeling. That thrill of finding something really special, something that I just wasn’t going to come across otherwise (unless I got really lucky at Goodwill, anyway).

And that brings us to today’s post: from looooong gone Thriller Video, it’s Cassandra “Elvira, Mistress Of The Dark” Peterson, hosting the 1957 Bert I. Gordon classic, The Cyclops! Cool winnins!

(Also, hilarious-but-true fun fact: look closely at the header picture above; you can see my Supe’guy shirt reflected on the front of the tape. This is a consequence of the clamshell the VHS now finds itself housed in apparently being the most reflective surface known to man. After several attempts to downplay said reflections during the picture-taking, I finally said “screw it” and let the best result speak for itself.)

elvira cyclops 2

This wasn’t the only movie Elvira hosted for Thriller. Oh no, there was a long line of ’em. Of the series, The Cyclops was the only one that I really, really wanted, though. Don’t get me wrong, if I came across any of the titles at a yard sale, thrift store or what have you, I would gladly snatch them up with a fervor that would almost certainly give onlookers cause for serious concern. But, The Cyclops is the only entry in the series I ever planned on going out of my way for.

Indeed, I kept relatively regular tabs on eBay for a copy that, price-wise, wouldn’t cause me to throw my hands up in utter despair. In good shape, some of these can still go for some decent dough. So, when this particular copy popped up with a buy it now of $14.99 and free shipping, I figured it was finally time to cross the title off my list. I can live with being $15 poorer, but could I live without Elvira babbling about a big giant one-eyed thing? Luckily, I’ll never have to find that out…now.

As you can see, my copy has been cut and placed into a clamshell for rental purposes. Uncut Thriller Video boxes are pretty big beasts, which wasn’t an uncommon route to take for many companies in the earlier days of home video; the more lurid the cover art and the bigger the box, the more eye-catching the release would be on the shelves. Thriller exemplified that ideal quite well. Plus, they had the benefit of Elvira gracing their boxes. (You can see uncut examples of their tapes, including Elvira’s The Cyclops, here.)

The fact this particular copy was cut for a clamshell and subsequently thrown on the shelf of Wonder Book & Video (is this the same company?) for rental purposes, which comes with the prerequisite sunfading to the cover, probably accounts for the low-ish auction price, though I don’t necessarily see any of that as a drawback. It’s not uncommon to find these releases cut for clamshell cases, plus It saves me the hassle of clearing space for a big huge box (yeah, I’ve really got that much stuff), and more importantly, the tape plays into not only my love of horror hosts and the earlier days of home video, but also the rental store boom of the time. That’s totally worth $15 to me. Plus, more material for my silly blog is always nice.

elvira cyclops 3

A few important factors are evidenced on the back of the box: 1) Lon Chaney Jr. is in the movie, which is a sight just as welcome as seeing Boris Karloff or Bela Lugosi listed in the credits of anything. Doesn’t matter how good a movie is or isn’t, a flick with him in it is at least worth a cursory glance. No kidding, it’s always fun seeing Chaney in a movie (and that’s coming from a guy that has not only seen but also owns Al Adamson’s Dracula Vs. Frankenstein!).

2) I wouldn’t be surprised if Cassandra Peterson herself wrote the synopsis, because that, coupled with the required picture of Elvira, gives a pretty good impression of the character’s sense of humor and just what viewers were headed for. Indeed, for anyone unaware of Elvira prior (yeah, all four of them) that were standing around mulling over renting this or The Jewel Of The Nile yet again at the video store, they had to get a reasonably good idea of what they were potentially getting themselves in to.

3) The tape is short. Really short. The Cyclops is only 66 minutes as it is, and adding the FBI warning screen, the company logos, three Elvira segments, three trailers for other Thriller Video releases, and closing credits, the running time still doesn’t top 75 minutes total. It’s a quick one, alright. I’m okay with that.

4) Can you believe there was a time period when a used former-rental could garner $40? Now every time I pick up a tape at Goodwill for a buck, I’m going to feel bad for those that may have shelled out the mighty dollars online for a similar copy, before DVD came along and ruined everything. Aw, no I won’t (though rest assured, I was one of those people, more than once).

elvira cyclops 4

The tape itself. Not a whole lot I can say about it, except I like the red (some would say BLOOD RED, HAW HAW HAW) color scheme of the label, and it has that cute lil’ “Be Kind, Please Rewind” sticker slapped on it.

And again: can you believe someone once paid $40 for this tape used? It’s been awhile since that was acceptable!

Then again, I’m the guy that paid $15 for a movie on a wildly obsolete format, so I don’t have a whole lot of room to talk, either. (Even less so when you consider the sheer amount of money I’ve wasted spent on used blank tapes!)

elvira cyclops 7

I think most everyone knows Elvira, “Mistress Of The Dark.” On a national scale, she is almost certainly the most well-known horror host there is. Indeed, Elvira’s visibility went faaaar beyond the horror movies source, eventually branching out into beer commercials and even her very own movie. By a certain point, it was easy to forget that she actually had her own show and hosted movies, because Elvira was everywhere. People couldn’t get enough of the whole Gothic valley girl shtick. Hey, it was, and is, funny!

Elvira hosted horror & sci-fi movies, via her program Movie Macabre, for a number of years, and such was the popularity of the concept that there were a lot of home video releases with her doing the exact same thing (something that continues to this day with DVD). While Thriller’s series of tapes are far from being the only ones out there, they were the first ones to bring Elvira to home video. That in and of itself makes the Thriller series interesting, and even more so when you consider there were actual licensed movies in the line-up, as opposed to the public domain offerings of so many of the later videos.

elvira cyclops 8

There were a few reasons that I wanted Thriller’s The Cyclops over the other titles in the series. First and foremost, I just really, really like the movie in general, and this is apparently one of the few (only?) legitimate VHS releases, though it is out on DVD now.

Also, the vast majority of the movies featured in the Thriller Elvira series were either in actuality Hammer House Of Horror entries, or made-for-TV flicks (1973’s Dracula starring Jack Palance, for example). There were a few theatrical films presented, but the only one really up my alley (and, I believe, the only one from the 1950s) was, say it with me, The Cyclops. The fact that I’m actually, genuinely fond of the movie just makes it all the better.

elvira cyclops 9

And, it’s a Bert I. Gordon film! Even more up my alley! So much of the mental “giant __________”  image that people picture when thinking of American sci-fi films from the 50s can be traced back to Gordon’s films. His initials are “B.I.G.” and boy do his movies live up to them! Giant bugs, dinosaurs, people, Gordon specialized in ’em all. Sure, the effects were on the, erm, cheap side, but as far as I’m concerned, that only adds to the fun. Want a good 1950s sci-fi movie for your Halloween party this year? Bert isn’t a bad choice.

I’m pretty fond of most of Gordon’s films, but truth be told, The Cyclops just may be my favorite of the bunch (and yes, I felt that way before I owned this tape). You don’t hear about it as often as you do The Amazing Colossal Man, Earth Vs. The Spider or The Magic Sword, but I feel it ranks among his best work.

elvira cyclops 10

Being such a short movie, things naturally move at a pretty decent pace, which is perfectly fine with me. I love 50s sci-fi, but a slow-moving, talky picture can try even my patience.

(Beware: some spoilers ahead!)

In The Cyclops, things kick off with an expedition led by one Susan Winter (played by Gloria Talbott) heading into a Mexican valley, where Winter’s fiance Bruce disappeared in a plane crash three years prior. Susan doesn’t believe he’s dead, and so she, a scientist acquaintance, a pilot, and a habitual complainer miner (played by your hero and mine, Lon Chaney Jr.) all head off in search of Bruce. That’s them up above, if you don’t believe me.

elvira cyclops 11

As with 85% of all movies made in the 1950s (statistic fact, look it up), there’s radiation involved. In this case, once in the valley, Chaney’s character “Marty” quickly discovers the land is saturated with uranium. That’s him doing so above if you don’t believe me. From that point forward, he will not stop whining about getting back to civilization to stake a claim in the land. Look, I’m a Chaney fan, but even I have to admit his character gets real irritating, real fast in this one.

elvira cyclops 12

As with 98% of the 85% of all 1950s movies with radiation involved, said substance has turned regular sized creatures into, as you would say, “big’uns.” A few prior “did I see that?” instances are confirmed when a big ol’ hawk is seen swooping down on a mouse (these are real animals, and it’s a little surprising that they included such an “in yo face” shot of the hawk tearing, literally, into the rodent).

elvira cyclops 14

More big fellas. A giant spider is encountered, and just as quickly forgotten when a supersized lizard makes its way into the picture. And then another lizard shows up, which naturally provides for a wrasslin’ match between the two.

Gordon achieved special effects such as these through the magic of rear-projection. While as still pictures things don’t look so bad, in practice they were, shall we say, often less than convincing. Anyone that has seen the giant grasshoppers in his Beginning Of The End knows how this all plays out.

But, while the effects aren’t exactly critically-acclaimed, they do add a terrific 1950s charm to the proceedings. And besides, I’ll take Bert I. Gordon’s rear-projected creatures over whatever brain dead crap Michael Bay throws at the screen any day.

elvira cyclops 16

Big lizards and whatnot are all fine and dandy, but everyone is here for the big guy himself, and man does he know how to make an entrance! One of the more talked-about moments in The Cyclops comes when the titular character is first introduced on-screen. In the scene, the main characters are in a cave, when something pushes a huge boulder in front of the entrance. Then, without warning, up from behind the rock pops the Cyclops!

It’s a moment that online recollections often describe as pretty shocking back in the day, and while I’m guessing people today are far too jaded to ever actually be scared by it now, as far as I’m concerned it’s still most certainly a surprising and downright cool introduction to the one-eyed menace.

And what a look the Cyclops has! He’s (according to the scientist) about 25 feet tall, with one side of his face deformed, and one eye (DUH!) peaking out of the other. He’s actually reminiscent of the title character in Gordon’s later War Of The Colossal Beast, (or rather, is War Of The Colossal Beast reminiscent of The Cyclops?) which is fitting, since Duncan Parkin played both.

elvira cyclops 17

More low-budget-but-fun special effects: Marty meets his maker via the hand of the Cyclops. ‘Course, since a giant hand is being superimposed over Chaney’s character, there isn’t any realistic contact made between the two; the hand just kind of flutters around while Chaney screams and falls over dead. It doesn’t look at all like he’s being or been squished, but anything that shuts the Marty character up is fine by me. The Cyclops is just a victim of circumstance, but Marty was willfully a jerk. So who’s the real villain here, hmmm?

elvira cyclops 18

Oh this is great. At one point, the Cyclops grabs Susan, and to achieve the impression that she’s being pulled out of the cave, rather than the hand grabbing her and pulling her out (which would’ve been impossible or at least incredibly difficult in this scenario), instead the entire image moves to simulate the giant retrieving her. It doesn’t get much cheaper than that, and thus I love it so very, very much.

Again, Michael Bay can keep his mindless CGI, I have infinitely more respect for a special effect that doesn’t look realistic in the slightest but has some actual heart behind it. You can tell Bert I. Gordon had a genuine love for his work, and that’s of tantamount importance. To me, that overrules how realistic or unrealistic a special effect is.

elvira cyclops 20

Of course the Cyclops has to fight something besides Lon Chaney Jr. at some point in the film, and that promise is fulfilled in a giant boa constrictor. It’s a real snake, so naturally it’s just a regular-sized example of the species (which, granted, is still pretty humongous). Apparently it was a well-trained snake, because while it wraps itself around the giant, it doesn’t appear aggressive in the least. Rather, it looks like the Cyclops is forcibly holding onto the thing while thrashing about (which, of course, is exactly what Parkin was doing; if you’re going to use a real boa to stage a fight, I guess there’s not a whole lot else you could do, not without getting the thing really mad at you, anyway).

By the way, it’s revealed that missing fiance Bruce is actually the Cyclops, having been mutated by the radiation in the three years since crashing. Just thought I should mention that somewhere.

elvira cyclops 21

Perhaps the most well-known moment in The Cyclops comes during the climax: as the creature attacks, a makeshift spear is grabbed, some brush tied around it, lit on fire, and then thrown directly into his eye! Yikes! Okay, sure, we know it’s a fake eye, obviously, and the quick edit between the spear being thrown and actually making contact with the eye is beyond cheesy, but boy, it still manages to look painful, and even a little disturbing. This was an eyebrow-raising moment for me the first time I saw it, and trust me, that’s not a feeling I was expecting to have when I first sat down to watch the movie!

elvira cyclops 22

Even more disturbing is the Cyclops himself pulling the spear out of his eye, and then helplessly crying as blood streaks down his face. It’s to the everlasting credit of Gordon and/or Parkin (and/or Paul Frees, who provided the wordless noises/grunts/etc. the giant constantly makes) that you actually do feel bad for the Cyclops here.

elvira cyclops 23

And so, the remaining three members of the expedition make there way to the plane and take off, leaving the radioactive valley as the Cyclops lies on the ground, blinded and presumably dead.

A happy ending? Well, yes and no. Sure, the heroes (Marty not included) make it out alive, but when you really think about it, The Cyclops wasn’t really evil. Rather, he was just a mostly-mindless, mutated beast, and it was thanks to a factor (the radioactive valley) that was beyond his control. And, he does at points show some ability to vaguely recall Susan and what he was before the radiation did what it did to him. It’s actually kind of a sad outcome for him when you think about it, even if there wasn’t much anyone could do for the former-Bruce by that point.

You know, I’m probably putting too much thought into what was supposed to be a nice, simple 1950s drive-in movie, one probably intended to be little more than background noise to the noisily necking teenagers of the time.

Believe it or not, to me The Cyclops does recall, or at least seem to mimic, the more-famous Universal sci-fi films of the same period. Of course, it’s much lower-budgeted, and quite a bit shorter, but there’s something about the cinematography and plotting and even the music used that brings to mind the Universal films of the time. I don’t know, maybe it’s just me. Either way, it’s a movie I genuinely enjoy. And it’s made all the better when it’s horror hosted.

Speaking of which…

elvira cyclops 6

Having never seen an Elvira Thriller presentation prior, I wasn’t quite sure what to expect. Was it simply going to be an episode of Movie Macabre thrown on tape, or would it be specifically shot footage? The opening image of the Thriller Video logo as part of the actual set answered that question, as did Elvira herself mentioning this was another Thriller presentation. Elvira stuff exclusive to this line; I dig it!

elvira cyclops 26

Much of Elvira’s act revolved around double-entendres and the like, usually in regards to her, erm, ‘appearance.’ There was an edge to her humor in general though, and the introduction to the movie is ample (doh!) proof of that. Her description of the Cyclops is a riot: “Everything about this dude is giant-sized! He’s got a big head, big arms, big legs, and the biggest…feet I have ever seen!” Funny stuff!

elvira cyclops 15

Again, because I had never seen one of these tapes before, I wasn’t sure if Elvira would just provide simple bookends to the movie, or if an actual episode of the series would be imitated. I was pleasantly surprised to see that while the movie itself is (I guess) uncut, there is a short break at, roughly, the halfway point for Elvira to come back and remind everyone that she’s hosting this movie. In the bit, she has a few toys and is mockingly reenacting the movie before noticing she’s back on the air, nervously remarking “Oh..hi! I was just, um, playing with myself!” while tossing the toys away.

elvira cyclops 24

Her outro declares that while the movie wasn’t the greatest, it was “Sure better than a poke in the eye with a sharp stick! Oh, sorry, Bruce…” Ha! She also wonders if Mr. T was the dialogue coach for the Cyclops (he grunts a lot during the movie), and posits that Lon Chaney’s character could provide the basis for a sequel (I sure hope not!).

More interestingly, while I was half-expecting some trailers for other Thriller titles at the end of the movie, as was the M.O. of many video companies at the time, I was surprised to see them actually incorporated into Elvira’s outro segment. Full, ostensibly Thriller-produced trailers for Dracula, The Picture Of Dorian Gray, and Charlie Boy (all three part of Elvira’s series for the label) appear during this closing segment, before Elvira concludes matters with a declaration of “Unpleasantos dreamos!” Get it? Her ending phrase was always “Unpleasant dreams!” and the movie has the Mexican theme, and, and…aw never mind.

elvira cyclops 25

See, 1985. Did you think I was lying? I wasn’t. I love the obviously computer-generated titles of the closing credits; they’re such a fantastic reminder of the medium and the time this was produced in.

As the copyright indicates, Thriller was part of the International Video Entertainment company. There were videos put out simply under the I.V.E. banner, but methinks Elvira works so much better with a label called “Thriller.”

elvira cyclops 5

Elvira still has a home video presence via DVDs, but as far as I know, none of movies found in this Thriller series have been re-released outside of these 1985 tapes. Certainly the Elvira segments themselves haven’t appeared since, having been tailored specifically to Thriller Video (at least they were for The Cyclops).

That being the case, Elvira’s Thriller Video presentation of 1957’s The Cyclops proves why there is still some worth to VHS (and Beta): many movies/shows/etc. on video have since been re-released on DVD (thus naturally killing the value of the older tape releases), BUT there’s still many, many titles that have not been given the digital treatment. And, it’s for the reason that the old video format shouldn’t be totally abandoned in this day and age.

Plus, it doesn’t hurt when a videotape-exclusive title is ridiculously entertaining in every way. Elvira hosting The Cyclops via the long-gone Thriller Video certainly fits that description. I may not add new old pre-recorded VHS tapes to my collection as much as I used to, but when I do, it’s because they’re most definitely cool, and rest assured, this one certainly is just that!

(Happy surprisins: despite being 30 years old and a former-rental tape that was run through who-knows-how-many VCRs over the years, the quality of my copy was still really pretty good. See, these old VHS tapes are more resilient than they’re often given credit for!)

WAOH TV-29 & WAX TV-35 – Son Of Ghoul’s Airing Of 1959’s Plan 9 From Outer Space (March 19, 1999)

son of ghoul plan 9 - 2

From March 19, 1999, here is The Son Of Ghoul Show that introduced me to Ed Wood’s magnum opus (ha!), Plan 9 From Outer Space. Cool winnins! Even better, when it comes to recordings from 29/35 The Cat, this is like the perfect storm of material. A show I love, a terrible movie I love, great local commercials, and a huge dose of nostalgia, which in turn all adds up to an even greater dose of nostalgia, one so great that it continually threatens to make my gol’derned face explode. People, this, this is what a Northeast Ohio horror hosted weekend evening looked like back in the late-1990s.

(I’m going with a Friday, March 19, 1999 date, but back then Son Of Ghoul was on Fridays and Saturdays, 8-10 PM, same episode both nights. It can just as easily have been March 20. I’ve got a pretty good memory, but I no longer recall which night I recorded this. I usually previewed the show Friday and, if need be, taped it Saturday. But this time around, I know for sure there was something exciting I attended that particular Saturday, which you’ll learn about soon enough.)

Settle in gang, this is gonna be a pretty long post…

son of ghoul plan 9 - 23

(I don’t feel like attempting an ostensibly clever transition, so let me remind y’all that I interviewed the man himself, Keven “Son Of Ghoul” Scarpino. It was and is an earth-shaking, precedent-setting interview that has made many a person cry tears of pure, unadulterated joy. Myself included? Just go read it. After this, I mean.)

Obviously, I taped this one personally myself back in the day. I taped a lot of Son Of Ghoul (still do, in fact), but this particular episode is way, way near the top of my favorites. Not only because it introduced me to this awful, awful movie, but also because it ties directly into an event I took part in and is the basis for some very fond memories of mine.

No kidding, you all know by now that I have a ton of tapes. I keep most of my horror host stuff in the same general spot, but recordings I am particularly fond of are kept in a kind of special “da best” section. This tape is absolutely in that section, and in all honesty, it has less to do with the movie at large and more to do with the circumstances surrounding the episode overall.

That said, Son Of Ghoul hosting Plan 9 From Outer Space is, as far as I’m concerned, a shining example of just why I love this sort of thing so much, and even without that personal connection, this would be a total winner.

We’ll get to all of the particulars in due time, but for now, let us look at the movie…

son of ghoul plan 9 - 5

Like I said in that first post (forgive if I repeat myself some between that one and this one, which I know I will), Plan 9 From Outer Space is widely heralded as the worst film ever made. It’s really not; there are infinitely worse movies out there, at least as far as I’m concerned. The worst film of the 1950s? A case could be made, I suppose. The worst film ever, though? Please meet my friend, The Creeping Terror. That’s a much worse movie on pretty much any level. I’m really just speaking from technical standpoints here, though; Plan 9 (and The Creeping Terror, too) is cheap and ridiculous beyond any and all standards, but nevertheless immensely entertaining. “So bad it’s good” is a phrase that gets thrown around a lot, and I don’t always agree with it, but in the case of Plan 9, I certainly do. I’ve seen movies that are far, far inferior while still being technically superior. Am I making any sense at all here?

For a movie released in 1959, the whole “worst thing ever” reputation is actually a bit more recent. It wasn’t really known as such until 1980, when Harry & Michael Medved’s book The Golden Turkey Awards deemed it so. I don’t own nor have I ever read the book, but they apparently came to this conclusion based on votes sent in to them, and it’s a title that has stuck with the film ever since. That’s not necessarily a bad thing, though; it brought a level of popularity to the movie that it wouldn’t have enjoyed otherwise, even if people are really only tuning in to see if it lives up (or down) to the reputation. And beyond the movie itself, it helped usher in a newfound wave of interest, albeit posthumous, in the guy responsible for the movie, Ed Wood…

son of ghoul plan 9 - 6

I actually find myself pretty fascinated by Ed Wood. Not fascinated enough to go see the Tim Burton biopic, but if I came across a good book on him, I’d snap it up right quick. As it stands, Wikipedia is my guide to all things Ed. He had a very weird, up-and-down life and career, which I guess is why so many people have taken such an enormous interest in him.

For a guy that made almost universally terrible movies, I can’t help but respect him. Despite the budgetary limitations and awful writing/producing/directing/etc., you can still see the very real love he had for movie making shine through. I dig that, much more so than the winking, self-awareness of many ostensibly “bad” movies today. I give more credit to an ‘honest’ bad movie than one purposely trying to be awful.

Also, because each and every synopsis regarding Wood has to include this fact, whether it’s pertinent to the actual subject at hand or not, here’s the obligatory “he was a cross dresser” statement. Has nothing to do with Plan 9, really, but I’d like to stave off the inevitable “Hey, you forgot…” comments. Those irritate me.

son of ghoul plan 9 - 7

The plot of Plan 9 From Outer Space is almost secondary to all of the wacky crap that surrounds it otherwise, which is really saying something. It’s best described as The Day The Earth Stood Still gone nutbar. That’s to say, there’s some aliens warning mankind that we’re the ones that are gonna end up blowing the whole joint to bits, and that’s when the movie goes completely off the rails. The aliens’ plan to make Earth listen to them? Reanimating our dead and letting them cause a ruckus.

I just had a thought: what if this was the reason the dead were returning to life in Night Of The Living Dead, and not the radioactive fallout as speculated? I just blew my own mind.

Plan 9 From Outer Space is characterized by mega-cheap (some would say “nonexistent”) special effects, including the iconic saucer in the screencap above, but geez oh man, everything else about the movie is just insane, too. “Absurd” is really the most apt term for it. The plot is ‘out there’ and the dialogue is, well, throwing a bowl of alphabet soup at the wall and seeing what sticks would probably produce comparable results.

In other words, if you haven’t seen it, you really ought to. It’s apparently public domain, so have at it! It’s a film that really does need to be seen to be believed.

I’d say it’d be hard for something this bad to be released today, but then I remembered all the smack people are talking about The Fantastic Four reboot. I haven’t seen it, but I’d probably still enjoy Plan 9 more.

son of ghoul plan 9 - 4

When a movie starts off with Criswell, you know you’re in for some kind of ride. Criswell was a self-proclaimed psychic, one that ended up having a, well, wide range of rather kooky predictions. In other words, he wasn’t all that accurate, unless a ray from space really did turn all metal to rubber and I just wasn’t paying attention.

Lucky for us, he hooked up with Ed Wood, and his appearance in Plan 9 is more than enough to label him a hero to all.

Criswell provides the intro and outro to the movie, as well as narration throughout, but it’s his opening scene that is the true stuff of legend. Not only does he start off speaking of future events before inexplicably deciding all of this happened in the past, but he constantly refers to the viewer as “my friends,” and I do mean over and over. I’d guess this wasn’t in the script, but then, it is an Ed Wood movie, so maybe it was.

Apparently these “future events” are all based on secret, sworn testimony. I could point out that the events in this film wouldn’t be “secret” for very long had they actually happened, but what’s the point? Don’t question it, just revel in it.

Criswell’s opening monologue instantly makes sure no viewer is possibly going to be able to take what’s about to follow seriously. It’s so bad that it’s almost brilliant in its stupidity. Almost.

son of ghoul plan 9 - 12

Swedish wrestler-turned-actor Tor Johnson is also here in all his glory. As per his usual M.O., he plays a big lumbering guy, though for once, one not named “Lobo.”

You gotta hand it to Tor, he managed to star in not one but several candidates for “worst movie ever.” In fact, for anyone claiming Plan 9 is the worst ever, go watch Tor in The Beast Of Yucca Flats; that’s not even a “so bad it’s good” film, it’s just plain BAD. Just like pretty much everything Coleman Francis put his hand to, it’s a vile, depressing mess of a movie. Gimme The Creeping Terror any day.

Apparently in real life, Tor was a ridiculously nice guy, and hey, people are still talking about him today, so I guess he did alright in the long run.

son of ghoul plan 9 - 8

Bela Lugosi! As far as I’m concerned, pretty much anything with Bela Lugosi in it is worth watching. It helps if the movie is actually good, but even when it’s not, Bela is still Bela. In his later years, Lugosi became friends with Ed Wood, and wound up in 1955’s Bride Of The Monster as well as, obviously, this one. (In my opinion, Bride is certainly bad, but not nearly as fun as Plan 9.)

Actually, Bela died well before Plan 9 was released, and he only filmed a few bits, ostensibly for an entirely a different movie. Needless to say, Wood wanted to capitalize on both the draw of Lugosi’s name as well as give him one last film to his credit, so he shoehorned him in as best he could. It counts as a Bela movie, but just barely; Lugosi himself really isn’t in the movie all that much.

So, what do you do when your star isn’t available for additional scenes because he’s dead? In one of the most famous pieces of Plan 9 folklore, a taller, blonder guy who is obviously NOT Lugosi walks around holding his cape over his face, which fooled approximately no one.

son of ghoul plan 9 - 11

Vampira!

That’s right, the person widely considered to be the first horror host is in Plan 9 From Outer Space! Now that’s cool! There seems to be some debate as to whether Maila “Vampira” Nurmi was the very first horror host, but there’s no doubt that she was the first to make horror hosting a real and viable thing. To see her in anything, never mind one of the most iconic (for better or worse) movies ever, it’s a real treat, especially since actual footage of the Vampira character is severely lacking. In Plan 9, she not only plays a reanimated corpse, but one that was Lugosi’s wife prior to death!

So, we’re watching the woman responsible for popularizing horror hosting, in a movie that made up many a night on horror hosted programs, whilst on a horror hosted program that she was indirectly responsible for? How cool is that?! I think I just made my head swim, by the way.

And on that front, it’s time to look at some of our horror host segments…

son of ghoul plan 9 - 1

Prior to the opening theme, the show opens with this: Son Of Ghoul’s take on Mystery Science Theater 3000! Echoing the sentiments of many, SOG can’t stand them talking over the movie while he’s trying to watch, and after repeated warnings to quiet down, he finally gets them to stop the only way he can: with a baseball bat! Look, I’m a huge, huge MST3K fan, and while this bit is technically anti-MST, I did get a laugh out of it. This sorta-meeting of two of my favorite shows is a trip!

‘Course, I’m a bit biased, because I’m reasonably sure that I’m originally responsible for this skit being filmed. Lemme explain: I began watching SOG in 1997, and met him in person at JC Comics & Cards (FORESHADOWING) not long after. Not long after that, I wrote the show for the very first time. Being 11 years old and fairly ignorant of what was national and what as local, I asked him if there was any competition between his show and MST3K. After questioning my sanity, SOG answered with the above bit, which was, needless to say, repeated for this 1999 episode.

As far as I am aware, the skit was initially filmed in response to my stupid letter. Unless it wasn’t and it just made for an appropriate answer that time. I don’t know. Still neat either way.

son of ghoul plan 9 - 3

Son Of Ghoul’s intro to the movie is loaded with info on the film, much more so than usual. Even SOG states he’s a “cavalcade of information!” He makes specific mention of the guy impersonating Bela Lugosi, his imitation of which is the image above.

SOG also talks extensively about an event that was happening right at that very moment, not only during this intro but all throughout the show, during the respective mail segments and whatnot. I’ll get to that in full momentarily, though.

son of ghoul plan 9 - 9

Lotsa clowning during the movie too, thanks to those visual drop-ins that Ghoulardi made popular so many years before. On the left: SOG sweeps Bela’s walk, which he describes as “filthy.” On the right, SOG imbibes in a beverage of some sort, apropos of nothing in particular but funny nevertheless.

son of ghoul plan 9 - 10

More goofing on fake Bela Lugosi!

son of ghoul plan 9 - 13

I’m not sure my brain can process the coolness of Son Of Ghoul and Vampira in the same scene. I don’t care if SOG is just superimposed over the scene, it’s awesome.

In this short bit, SOG pops in to ask Vampira for a date. A rather, erm, “gaseous” sound effect provides her answer!

son of ghoul plan 9 - 14

The Barfaby Show, SOG’s long-running parody of Northeast Ohio’s iconic children show host Barnaby. These are always crowd-pleasers, in which Barfaby torments, either accidentally or, more usually, purposely, his pet invisible vulture “Longdog.” SOG still plays these skits quite often, but the one featured in this episode I actually can’t recall seeing in a long, long time. By the looks of it, it’s one of the earlier installments.

In this one, Longdog asks Barfaby why his mouth always moves when Longdog speaks (SOG provided the voice for the bird too, y’see). Barfaby tells him he doesn’t know why, but he’ll rectify the situation, by means of which you’re seeing in the right screencap above. It’s a skit that’s pretty emblematic of the often twisted humor of the show, and make no mistake, I was cracking up during it.

son of ghoul plan 9 - 15

Fatman & Rotten are some of my favorite skits on the show. Obviously, it’s a parody of, well, you know what it’s a parody of. Just like Barfaby, older installments are played quite frequently nowadays, though also just like the Barfaby, the skit in this episode is one I can’t recall seeing in a looong time.

Which is too bad, because this is a very funny entry. Rotten has gotten him and Fatman captured because, as he explains, he thought the bad guys would just turn themselves in when he rationally explained to them that they were “being bad.” Fatman is not amused. He’s even less amused when Rotten thinks this is good for them to spend time together; Rotten’s suggestion of having a sing-a-long goes unanswered. Fatman is then even less amused when evidence of Rotten’s previously-eaten Mexican meal is made apparent. Annnnd that’s how it ends, Fatman in agony as Rotten cuts loose. Funny stuff!


 

Okay, so, we’ve seen the movie, and we’ve seen some of the SOG host segments. But what about that whole “extra nostalgia” thing I was babbling about at the start of the post?

Behold!

son of ghoul plan 9 - 18

Oh yes, this episode aired the weekend of Frightvision! This was the first of several Frightvision shows, and it was hyped endlessly. Indeed, these Frightvision clips are actually from a commercial for the event, one that aired incessantly during this broadcast. So much so, in fact, that it practically is a part of the episode, which I’m sure it was meant to be.

There were/are episodes of The Son Of Ghoul Show that could be rerun anytime, albeit sometimes with some slight editing. But, there were also episodes that were very time frame specific, and this is one of those. SOG talks extensively about Frightvision in every host segment. Friday, March 19 was kind of a pre-convention deal; it was part of the whole weekend, but then again, not quite. Apparently, a banquet with all of the guests of Frightvision was held at Quaker Square before everything kicked off in full the next day. SOG talks a lot about that, too. March 20 & 21 were the real days of the convention, and I absolutely attended on the 20th.

Indeed, this was my very first horror/sci-fi/TV convention! I wound up going to the next two Frightvision shows before I fell away from it (Frightvision would end altogether a few years later). This first was always the most memorable to me, though. At least until I became addicted to Ghoulardifest some years in the future, anyway.

son of ghoul plan 9 - 21

Having never been to one of these before, I wasn’t quite prepared for the sheer amount of memorabilia that was present. The place was loaded! Being a video collector even then, the VHS tapes were what attracted me more than anything. And geez of man, there were VHS tapes for (figurative) miles! This being a convention, and me not having any real of money of my own, the number I could bring home was limited, but I did come away with the original 1925 The Lost World and a copy of the original 1954 Japanese version of Godzilla (which was unavailable officially in the U.S. at the time).

Also, I’m pretty it was at this show that Son Of Ghoul had a table set up with old WOAC TV-67-era promotional photos, for, if I recall correctly, $3 apiece. A sign on the table stated “When they’re gone, they’re gone!” which only further fired me up for one. I bought what appeared to be the oldest-style photo (it was also the last of that kind there), though a stack of newer 67 pictures remained; I kinda wish I would’ve gotten one of those as well.

Nevertheless, while I didn’t have a big haul, it was, as far as I was (and am) concerned, a great one.

son of ghoul plan 9 - 22

And the celebrities! Even at that young age (I wasn’t even 13 years old yet!), I knew of a lot of these people. Having grown up with Swamp Thing in movie and TV form, Dick Durock seemed like he would’ve been a sure bet to meet. I didn’t, which I now regret (especially since he passed away several years ago).

I did however meet Mark Goddard from Lost In Space, who was ridiculously nice. Tom Savini was also there, though I wound up meeting him the next year (unlike most of the celebrities that charged for their autographs, I don’t recall Savini charging to sign my VHS of Dawn Of The Dead, though I could be wrong).

I believe ’99 was also the year I met longtime Son Of Ghoul sidekick Ron “Fidge” Huffman and got his autograph. Very nice guy that truly loved his fans! RIP, Fidge.

son of ghoul plan 9 - 19

Maybe the most memorable (for me) of the celebrities I met at Frightvision ’99 was Ben Chapman, who played The Gill Man in all of the out-of-water scenes in the original Creature From The Black Lagoon. And no kidding, this guy lived for his fans. He loved to tell behind-the-scenes stories about Creature, and couldn’t have been friendlier while doing so. Ben Chapman was just great, and I am proud to have met him. I was sincerely sorry to hear of his passing in 2008. Such a cool guy.

Looking back, Frightvision was one of my more memorable convention experiences, probably because it was all so ‘new’ to me. I’m sort of used to the whole deal now, but back then, it was like an entirely different world opened up to me. Suddenly, I could meet many of these Hollywood celebrities in person, I could find a lot of movies that just weren’t going to pop up on Best Buy’s shelves, and I could have a blast doing all of it. The following two Frightvision shows were also fun, but in retrospect, they couldn’t live up to that first one. In fact, the only one that has lived up is the aforementioned Ghoulardifest, though without that same initial sense of “whoa!”


 

After my last look at local horror host material and the severe lack of any commercials interesting enough to spotlight, I initially intended on skipping that feature for this post, as well; after Son Of Ghoul, Plan 9, and Frightvision, is anything else even really necessary? This was my plan of action, until I actually dug the tape out and watched/converted it, that is. I should’ve known better; WAOH/WAX always ran quirky, inventive and very, very local commercials. That’s to say, right up my alley. Luckily, this recording was particularly strong in that area. No kidding, I wound up with so many to spotlight here that I had to cut some out, since this article is already pushing the boundaries of even the most patient of readers as it is.

Son Of Ghoul “Japanese Movie Dub” Promo

son of ghoul plan 9 - 17

One of the more-famous SOG promos of the time was found right at the start of the tape, almost two minutes before the episode itself started. 29/35 played this one a lot. It’s a short scene from Ghidrah, The Three-Headed Monster, partially dubbed with the characters on-screen talking about Son Of Ghoul’s time slot and that “he’s too cheap to film a commercial!” I’ve collected a lot of SOG promos over the years, mostly ones from my own tapes, and this one ranks near the top, if only because of its ubiquity on the channel.

 

DMG Cell Phones & Pagers Ad

son of ghoul plan 9 - 24

It may be hard for some to remember, but cell phones, while definitely existing in the late-1990s, weren’t quite what we know as cell phones today. Back then, they didn’t text, they didn’t get on the internet, and they were the size of bricks. Would you believe it, people had to be satisfied with simply being able to send and receive calls?! Whoda thunk it?! Also, there was a thing called “pagers,” which cell phones later made obsolete. Look ’em up, kids.

Back in ’99 though, this was all still state-of-the-art stuff, and DMG had it all. The commercial uses a technique of rapid-fire zooming in/zooming out, so it’s hard to get a satisfactory screencap of their wares. Anyway, there were two shops, one in Kent, one on State Road in Cuyahoga Falls. As near as I can tell, they aren’t open anywhere anymore (if you are, someone speak up in the comments! I’d never begrudge y’all a free plug!).

 

Whole Shop Inc. Ad

son of ghoul plan 9 - 25

Whole Shop Inc. has gotten mentions on this blog before, namely in this old Christmas-post. I had to include this commercial here for a few reasons: first of all, I’ve been there before, and I find the subject of cutting metal and whatnot with super high-pressured water endlessly cool. This ad is straight-to-the-point, mentioning all of the things Whole Shop does.

Whole Shop Inc. is still around, so go patronize them.

 

The Pizza Factory In Kent, OH Ad

son of ghoul plan 9 - 26

Employing a filming technique similar to the DMG ad, it was tough for your pal me to get representative screencaps for this one. Anyway, The Pizza Factory was a then-new pizza establishment in Kent, Ohio. There’s really not a whole lot I can say about it beyond that, except I have a soft-spot for local pizza commercials.

Google searches turn up a lot of similarly-named places, so, also just like DMG, I’m not sure if this Pizza Factory is still open or not. Again, if you guys are out there, speak up in the comments!

 

WNIR “Morning Stooges” Ad

son of ghoul plan 9 - 28

WAOH 29/WAX 35 was and is heavily affiliated with WNIR 100 FM, so advertising for the radio station was very plentiful for years. In this one, the morning show guys (one of whom is Steve French, and I’m sorry fellas, I don’t know the other two, simply because I’ve never much listened to talk radio) expound on the revitalization of Akron, with the exception of one eye-sore…

(Check out WNIR here!)

 

29/35 – The Beverly Hillbillies Promo

son of ghoul plan 9 - 29

29/35 ran a lot of original programming, but like any good indie station, there was also the classic sitcom reruns. The public domain episodes of The Beverly Hillbillies are standard issue for this sort of thing, so it’d be more surprising if 29/35 didn’t run the show.

The promo consists of clips of Granny talking about the various hillbilly-approved foods she prepares, which are, needless to say, not very appetizing to most. The idea behind the ad is that viewers could join The Beverly Hillbillies for lunch at noon and then again for dinner at 7:30 PM!

 

Cool Gear Ad

son of ghoul plan 9 - 30

The concept of “man caves” existed back in the 1990s (and well before, of course), though I don’t think they were known as such yet. Or maybe they were, I’m no expert on man caves. Anyway, Cool Gear was a store catering to that sort of thing. That is, sports memorabilia, beer paraphernalia, and things of that nature, it was all there for the purchasing at Cool Gear.

(It appears Cool Gear is no longer around.)

 

29/35 – Dobie Gillis Promo

son of ghoul plan 9 - 31

Dobie Gillis, believe it or not, was pretty heavily promoted on 29/35 for years. I’m not sure if there was a dedicated segment of Dobie fans among the viewing audience, or 29/35 was trying to create one. Either way, it worked on me, because I wound up loving the show, usually catching the 4:00 PM airing every day after school, following the 2:00 PM movie.

There were a number of Dobie promos on the station, though this may have been the most common one: a compilation of clips of Dobie’s father Herbert complaining about Dobie. Really, that’s all it really is, though it makes sense, since that was a large part of the show, at least in the early seasons.

 

JC Comics & Cards “Anime” Ad

son of ghoul plan 9 - 32

JC Comics & Cards! I love JC Comics & Cards! I’ve been going there since about 1996, and as previously mentioned, met SOG there in ’97. 29/35 didn’t introduce me to the establishment, but I still got a kick out of seeing commercials for the store on the channel!

There were a number of JC commercials on the channel, and in this one, it’s a dubbed scene from some anime, in which two guys in  truck discuss all of the great things to be had at JCs before narrowly avoiding a crash. They ain’t lying, either; to this day there’s a ton of cool stuff at JCs!

(Check out JCs here!)

 


 

What a recording! The Frightvision material, in conjunction with SOG’s constantly talking about the convention during the episode itself, lends this episode of The Son Of Ghoul Show an air of nostalgia for me that few others can. Not only does it bring up memories of my first convention, but the recording as a whole is from what I consider the peak of The Cat’s powers as a crackerjack local independent station (for me, roughly 1997 to mid-1999). Good shows, good commercials, good memories, there’s a reason this is one of favorites.

Seriously, few of my other recordings from the station can so concisely sum up the time period such as this one. And you’ve got Plan 9 From Outer Space! For those watching on Friday night and planning to attend Frightvision Saturday or Sunday, there was no better way to kick off the weekend!

son of ghoul plan 9 - 16

And remember, as per Criswell’s final line, “God help us, in the future!” Words to live by, man.

(By the way – want your own Son Of Ghoul-hosted Plan 9 From Outer Space? The movie is public domain, and thus, SOG sells a copy of the episode on his website! I can’t promise it’ll be exactly the same as this recording, but I’ve long held that a movie is always better when it’s horror hosted. Check out The Official Son Of Ghoul Website to get yours!)

Enigma Theater With Edward St. Pe’ – The Invisible Dr. Mabuse (1999)

enigmatheater1

I’ve talked about about Enigma Theater With Edward St. Pe’ before. Back in April 2013 I looked at two episodes, and then in June ’13, I looked at one more. Enigma Theater was a horror hosted show broadcast on the America One network in the late-90s/early-2000s. Here in Northeast Ohio, it ran on late, late Saturday Nights/early Sunday mornings for at least a year or two, and it’s more or less forgotten nowadays. In fact, my sad lil’ blog is one of the few, if only, places with any info on the show at all (at least that I’ve seen).

To the best of my prior knowledge, I had only recorded three full episodes (Circus Of Fear, The Vampire People and Rocketship X-M) and one partial episode (The Corpse Vanishes) back in the day. Yesterday as I was on a mission for my old budget Dragnet VHS tapes (mission accomplished as if anyone cares) and thus digging around in the appropriate box of old VHS tapes, I came across a tape containing my recordings of Gog, The Testament Of Dr. Mabuse, and The Invisible Dr. Mabuse. The first two movies I remember taping, but The Invisible Dr. Mabuse I have ZERO recollection of recording. The then-current scheduled TV showing must have inspired me to go for a themed thing. I guess I figured it would ostensibly make a good double-bill with The Testament Of Dr. Mabuse, though it kinda doesn’t.

Lo and behold, the recording (which required a bit of tape resuscitating, since I almost certainly hadn’t played it in the last 15 years) yielded a previously unknown-to-me recording of yet another Enigma Theater! Cool winnins! Needless to say, I was not expecting to see this! I love having recorded so much crap years ago that there are things I totally blank upon until re-discovering them.

Then again, I guess it’s not so surprising. I taped a lot of things back then; hundreds of programs. As good as my memory is, it stands to reason that I’m not going to remember every little thing I taped 15 years ago.

enigmatheater2

There’s Edward St. Pe’ himself. And boy, he talks The Invisible Dr. Mabuse up as if it’s the greatest damn thing ever put on film; he seriously says it’s “a four star-rated film” which, man, I’d never say it approaches anywhere near four stars. Granted, I’m not exactly a Dr. Mabuse mega-fan, but I generally have some idea how these types of films are regarded. The Testament Of Dr. Mabuse, yeah, that’s absolutely a classic, but The Invisible Dr. Mabuse? Even the IMDb reviews are lukewarm at best, and if the movie’s gonna get appreciation from the appropriate buffs anywhere, it would be there.

enigmatheater3

There’s the, erm, title screen, obviously. I didn’t watch much beyond this point, opting instead to fast-forward through the rest, because honestly, I don’t care. I’m not sure I really cared all that much back then, either; more likely, I was probably just boosting my horror film collection. Plus, I’m guessing the film reminded me of the obscure titles I’d see listed in the Sinister Cinema catalog; the Sinister Cinema catalogs were things of beauty, and even though I only ordered from them twice (silent westerns no less, and believe it or not, I rescued those two tapes from the same box those Dragnet videos were in), I’d always drool over the new catalogs that occasionally popped up in my mailbox. Figuratively, I mean. But, I digress.

Also, there were approximately 1,462 commercials for that old Monster Ballads CD compilation set fund during the broadcast. Just thought you should know that.

enigmatheater5 enigmatheater4

There, duly notated for all the future lil’ baby childrens of the world.