Tag Archives: vhs

Panasonic Omnivision Hi-Fi VHS VCR PV-1730 (February 26, 1985)

See, I didn’t take April off. Just most of it.

I’ve been a busy Video Hunter this past month, and the sad fact of the matter is I’ve had neither the time nor, to be quite honest, the inclination to put together a ‘big’ article. The reasons for this are several, though I won’t bother to go in to them. Still, I wanted to get something up before April ended, lest y’all think I abandoned the site and, by extension, you. Never let it be said that I don’t care, because I do, I do care!

Anyway, this isn’t going to be a long post, and truth be told, you can consider it more of a stop-gap entry than anything. BUT, that doesn’t mean I don’t like the subject, because I most certainly do. Dig this: From early 1985 (February 26, as per the back), it’s one of Panasonic’s famous Omnivision VHS VCRs, and boy, is this one technologically advanced – well, it was 32 years ago, anyway. Behold the PV-1730! A slick, feature-packed Hi-Fi stereo deck that had the capability to blow your face off – well, it did 32 years ago, anyway.

The best way I can describe this VCR is “heavy duty.” It just feels like a real product, a high-tech, ostensibly end-all be-all addition to the home entertainment center. And that silver casing that flies in the face of the predominantly-black styles of so, so many other VCRs? Looks sharp, man. Is it wrong that I can see this machine being used as decoration in some episode of Miami Vice? Maybe it was.

However, this deck doesn’t quite work correctly, though it mostly does; it powers up, it registers whatever button I slam my paws against, it fast-forwards, it rewinds. The only problem is it doesn’t like to play. Not consistently, anyway. Sometimes I can get it to go and it will run for a period before stopping, but other times it will play for only a moment or two before it takes a powder. I have several ideas as to what the problem is, but it’s not like this is going to be my daily driver; honestly, I picked this machine up simply because of the supreme mid-1980s-ness it exudes. I didn’t even bother taking a screencaps of something playing on it, because it just doesn’t matter.

(So why even bring it home? I love the the era of electronics it so deftly defines, and besides, even if it doesn’t work 100% right now, I always grab these with an eye towards getting them repaired at some unknown point in the future. But really, it all comes to down to the looks and features – even if none of them really mean anything in this day and age. It’s this same mentality that got me my swanky Sylvania VCR.)

Luckily, I got the thing to play for most of my picture-taking session. The display is pretty nice and bright, and while I hate the old school “counter” system, this machine rectifies that with giving the exact minutes and seconds too, which makes it my friend.

You can barely see it, but there’s a sticker stating this was one of Panasonic’s “Tech 4” models, always a welcome sight to yours truly. Indeed, one of the best VCRs I ever found was a 1986 Omnivision “Tech 4” that works flawlessly and may have even more features than this deck. I keep that one on a figurative pedestal because I’m weird.

See that panel at the bottom? It opens up, and oh what it harbors just beneath the hood…

BOOM.

Here’s your station for “One-Touch Recording,” along with the ability to set the OTR timer, as you’d expect. Also, not one but two tracking-control knobs, nifty left and right audio controls, a switch for recording in all three speeds, and Dolby noise reduction.

Now see, I didn’t grow up with, or at least didn’t grow up using, VCRs with such a now-convoluted recording scheme; I came around, thankfully, when that set-up had been reduced to on-screen displays and programmed with the remote. As such, the thought of setting a timer with this system kinda makes my head swim. I could have mastered it, I could still master it, but luckily, I’ll never have to!

Hold on, there’s more to it!

On top of the unit there’s a flip-up panel with controls for picture sharpness, regular TV or cable TV, display options, and so on. Sorry this pic is alternately too bright and too dark; this was about as satisfactory a picture as I was going to get.

Also, V-Lock for SP and SLP? That’s a new one on me. They’re probably found on some of my other VCRs, but if so, I never paid much attention – what exactly is that? “Vertical Lock?” Is that like the “Vertical Hold” on old TVs?

You know what attracted me most to this unit when I first came across it? That “Hi-Fi Audio HD” declaration above. It may not mean anything anymore, but man does that just sound completely top-of-the-line for the time. For the time? Heck, to me that still sounds cool!

Besides the ‘normal’ controls for playing and recording, you’ve also got plenty of audio features, including audio dub, and needless to say, the audio levels meter I always love seeing on these old models.

Along the back are the expected microphone inputs and whatnot and the television hook-ups, but what I really get a kick out of is the “Pay TV” knob; I’m not even sure what it does, but it almost doesn’t matter, because it’s such a neat mid-1980s throwback. I said the same thing about the previously-linked Sylvania VCR, so anyone with the appropriate knowledge wanna fill me in? Hit the comments section!

More inputs/outputs, including handy ports for a camera. The “Editing” plug has me curious, though the declaration of “See Manual” feels like a diss; I don’t have the manual, VCR! Thrift store finds rarely include them, and as such I’m performing a lot of guesswork (such as it is) with some of these features. There’s probably a PDF of the manual online somewhere, but frankly, searching it out is too much work for a stop-gap post that approximately three people are going to read anyway.

So, just where did I get this beast? I honestly couldn’t remember until I dug the machine out and noticed the “$8.00 Y” price written in marker. “Y” stood for “Yellow,” which means I got this from some Village Thrift somewhere. Evidently I never did much with this machine upon getting it home, since I hadn’t even bothered to clean that off! Nope, it had just been sitting in my stack of VCRs, staring at me, day in, day out, wondering why I shun it so. Until today anyway, when I decided I should probably write a token post for April 2017.

So there it is, a Panasonic VHS VCR, loaded with options and still looking darn cool to boot. This was one of those finds I buy based solely on looks, features and “aura.” I grab things like this all the time, and even though I usually never do all that much with them, I love having them, simply because of the era in electronics that they represent.

There. Gap = Stopped!

Kid Pics – The Amazing Adventures of Alice in Wonderland VHS (1987)

Welcome to 2017! 2017? Yes, 2017! The four-year anniversary of this stupid blog is right around the corner! Four years! I can’t believe it!

What say we start 2017 off with something, well, something a little out there, eh? Found just a week or two before Christmas, today’s subject cost a whopping 60 cents at a thrift shop, and for sheer “say what?” value, it was worth every penny.

Behold! The Amazing Adventures of Alice in Wonderland, on VHS! (It’s below and to your right, obviously; eagle eyes will notice I’m experimenting a bit, but just a bit, with formats this time around. This is a little out-of-the-norm for this blog, and while I can’t promise it’ll continue in the future, right now I feel like a big-time legit newspaper guy or something.)

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When I sauntered into this particular thrift shop, it quickly became evident that someone had dropped off their entire inventory of budget cartoon tapes. Now, I’ve got quite a few of these in my collection already, though I’m by no means on a regular hunt for more specimens. I’m interested in releases of the Fleischer Superman cartoons, and Popeye, but beyond those two, I come across cheapo cartoon releases far, far too often to go all nanners over ’em every single time. Thus, most of the tapes out for sale that night were passed over by yours truly.

And, Alice in Wonderland is even less likely to trip my trigger, because, uh, it’s Alice in Wonderland. We never owned a copy, but growing up I was vaguely familiar with the Disney film, and I of course know the basics of the famous Lewis Carroll story. But I mean, this sort of thing just isn’t really my scene, man.

And in the case of this particular VHS, even the cover art is too competent to raise my eyebrows. Lemme explain: part of the fun with cheap cartoon videos from the 1980s is the oftentimes wildly-amateurish cover art. There are quite a few renditions of Popeye and Superman out there that are too pitiful to not love. Heck, overtly terrible artwork can and sometimes is reason enough for me to drop some coin. But here, the artwork is entirely serviceable. Just look at it up there! It’s competently drawn and colored, and it projects a nice, Easter-ish vibe. No one will ever mistake it for a release of Disney’s version of the story, but for what it is, the artist did a good job.

So, just why did this tape end up coming home with me that fateful night? The answer is found on the back cover…

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No, it wasn’t the featured line-up listing. Sure, you’ve got the “marquee” feature, along with what (I guess) I initially presumed was just another old, subsequently-public-domain-lapsed iteration of Carroll’s heroine, plus a couple of other seemingly-appropriate “wonder-ish” cartoons. It all “fits,” but none of those were why I grabbed this VHS, either.

Nope, the real reason I avidly purchased this tape has to do with the logo you’re seeing to the left: it was a Kid Pics release! What makes Kid Pics so special, you ask? Why, Kid Pics was part of the Amvest Video empire, that’s what! Though the back cover makes no mention of it, Kid Pics was indeed a division or subsidiary or connected-in-some-way-somehow to Amvest, and that’s what made this a must-buy for me. You don’t (or at least I don’t) come across these things in-person very often, and at only 60 cents, hey, I pretty much had to have at it!

Amvest has had no small presence on this blog, especially in regards to this their Al Lewis-hosted Grampa Present video series, which culminated in the ultimate recap this past Halloween. Indeed, I’ve become more and more enamored with the company, to the point where anything I come across by them whilst out and about is more than likely entering my collection. While still decidedly a budget outfit, many of their tapes had a quirky charm to them, and there are more than a few interesting stories regarding the company out there in internet-land, for those inclined to look. While I don’t go after every single Amvest release with the same fervor that I do their Grampa series, I’d be lying if I said I didn’t give the nod to Amvest whenever possible.

So anyway, there I was, an ostensibly-adult, 30-year-old male, carrying a cheap Alice in Wonderland VHS tape around a thrift store, and far more excited about it than any ostensibly-adult, 30-year-old male should have been. Was I a cause for concern to fellow patrons of the establishment? Maybe, maybe not. If I was though, what they didn’t realize was that I had found a rare, or at least wildly-obscure item, and more-importantly, fodder for my silly blog. Though truth be told, it wasn’t until after I checked out the tape and ruminated on it for a bit that I myself realized I could get a post out of this, either.

(Found at the same time as this was a Kid Pics tape featuring public domain Looney Tunes shorts, and months ago I had picked a Superman cartoon comp by them as well. For all I know, I unknowingly have more releases buried in my collection. Any any rate, my big hope with these three tapes was that The Happy Hamster, a bizarre host for some, but not all, Kids Pics releases would show up. Alas, it was not to be. Perhaps it was for the best though, since the sensory overload of The Happy Hamster hosting this tape would have, in all likelihood, caused my face to explode.)

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And that brings us to Alice in Wonderland proper.

Before I actually played the thing, I figured this was just another release of an old cartoon that had been floating around the public domain for centuries decades, an Ub Iwerks or something. That’s not what I got, though. Nope, what I found instead, while not really “disturbing,” was still more than a bit odd, and just a little trippy: a 9-minute, black & white short that combined live-action and stop-motion animation to form a fast, condensed version of the famous story.

Upon my initial perusal, I pretty much just zipped through the tape to see what exactly I had. After discovering that this Alice in Wonderland was what it was, I went looking for it online; I wanted to see what year it was released, who was in it, and so on and so forth. My first thought was that it was an early television production, and when my Google searches and whatnot didn’t turn up the answers I was looking for, I quickly found my interest in the whole matter deepening ever more so, as it is wont to do.

Had I been paying closer attention the first time around, I’d have found my answer easily enough: The title-card’s mention of “Lou Bunin” tells all. Turns out, this is an extremely edited version of the 1949 French film of the same name! The original is 80+ minutes long, and in color, so given the nature of the print found on this tape, not to mention the Castle Films cards that were also included at the open and closing of the feature, it seems to me that this was a VHS re-release of something that was produced for the home market in the decades prior; originally a Sound Super 8 reel or something like that. I’ll go ahead and assume this condensed version has lapsed into the public domain in the US, though apparently the 1949 original has not. Either way, interesting stuff!

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At only about 9 minutes, needless to say there wasn’t much time for exposition. So here, things kind of just “happen.” Now granted, Alice in Wonderland didn’t exactly feature the most lucid story in the first place; that was sort of the point of the whole thing, right? But even so, the quick cuts and fairly choppy nature of the proceedings here, it’s a pretty disconcerting. That may sound fitting for an adaption of Alice in Wonderland, but this turned out to be more of an honest-to-goodness sensory assault than it had any right to be.

The plot, such as it is, starts out with Alice following the famous White Rabbit to Wonderland; that’s seriously how this edit of the film starts. No questioning as to why a rabbit is wearing a coat and walking upright – “Seems legit,” as the hip kids say. Following the rabbit to his lair and drinking a potion to make herself small enough to follow him through the tiny entrance to Wonderland? Sure, why not! Alice in Wonderland was kind of an acid trip of a tale in the first place, and as for the 1949 adaption, since I haven’t seen the full version, I don’t know if there was any initial reluctance on Alice’s part or not, but she seems to go with the flow without hesitation here. Anthropomorphic rabbits? Drinking random potions that have appeared out of nowhere? None of that is cause for concern to Alice, I guess!

What follows is Alice being accused to stealing the Queen’s tarts, and being put on trial. The possibility of having her head chopped off, as the Queen readily insists time and time again? Alice seems only mildly apprehensive of the wacky-jack situation and possibly bad resolution – maybe she’s cognizant of the fact she’s trippin’ perhaps? This is weird stuff, and like I said, things just sort of randomly happen; I’d imagine that kids would have needed some prior knowledge of the story to make any sense (relatively speaking) of this particular iteration. And just like it began, it sort of just concludes; just as the trial is about to rule against her keeping her noggin, Alice suddenly finds herself safely back in “real time,” unsure if it was all a dream but with a, as the narrator states, “wonderful story to tell” nevertheless. I’d hardly say nearly being decapitated over tarts is a “wonderful story,” but I suppose it’s pointless to question any of this.

The special effects and stop-motion are technically pretty impressive for the time; they’re well-done and accurately present the dreamlike world of Wonderland. The scene of Alice shrinking near the start is pretty neat for 1949, and the animation of the Wonderland inhabits is acceptable, though the jerky nature of them, coupled with the black & white picture and already-weird nature of the source material, plus the chopped up quality of this print, it all ends up being a little creepy, honestly.

Look, I find this short impossible to satisfactorily describe. The Internet Archive has a copy (though interestingly, it lacks the title card and first several seconds that are present on this tape), and it’s notated as public domain, so here you go.

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When I first found this tape and gave the contents listed on the back a fleeting-at-best glance, I saw what was on it, but I didn’t really comprehend what the included cartoons were, if that makes any sense. Not beyond the cover art at least, I mean. Look, this was a Kids Pics release; it was coming home with me no matter what. I guess what I’m saying is I didn’t pay all that much attention to the tape I was far too excited to find. If that sounds like an oxymoron of sorts, rest assured it happens a bit more often than I’d care to admit. Buy first, think later!

(In all seriousness, whenever I’m out thrifting, I generally do pay some attention to whatever I’ll be bringing up to the sales counter. Be it an electronic, tape, or what have you, I like to have as few negative surprises as possible when I get home. But in this case, and in instances like it, the content of the tape is basically secondary to the rarity of it. Is the tape moldy? Does it look like it will play? That’s all I really needed to know before the purchase. And in the end, it was only 60 cents.)

Anyway, when the sale was done and I got home with my loot, it wasn’t until I actually saw it that I realized there was a thematic-element going on here. This wasn’t just a short, budget-priced collection of public domain cartoons; Amvest/Kids Pics/whoever put together four shorts that kinda sorta go together (for the most part; read on, you’ll see), despite not being related in any real capacity.

So, Alice’s Tin Pony. On the surface, it sounds like another vintage trip to Wonderland, not unlike how there were multiple theatrical shorts detailing the land of Oz back in the day. One would and could be forgiven for making that Wonderland connection upon first glance, given the title (especially if they weren’t familiar with the various renditions of Alice in Wonderland, as I was/am). Maybe that’s the main reason it was included in the first place, I don’t know.

But, that’s not what this is. Rather, it’s a part of an old, old series of silent Disney shorts from the 1920s that have all lapsed into the public domain. Look up above if you don’t believe me. Alice, Disney. See?!

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Besides the whole “her name is Alice too!” thing, this cartoon makes a fitting pairing with the bizarre Alice in Wonderland edit that precedes it for one very good reason: it’s a combination of live and action and animation.

The gimmick for these “Alice Comedies” was that the titular character was a real human kid, superimposed (?) over the cartoon world in which she lives and takes part in. Truth be told, it’s an effect that works far better than I ever would have expected it to prior. This short is from 1925, and while this isn’t news that will surprise anyone familiar with the series, I found it technologically impressive.

Alice’s partner in these shorts was an animated cat named Julius. There they are up above, and if you think Julius bears more than a passing resemblance to Felix the Cat, that’s because he, uh, doesbig time. Not only does Julius appear to be a dead-ringer for Felix, but he acts pretty much the same, too. Dude can even detach his tail and do things with it. In fact, this short is pretty surreal overall, not unlike a typical Felix the Cat cartoon – which of course makes it an even better pairing with Alice in Wonderland.

In this Alice installment, she and Julius run a railroad line, and that day, it’s carrying a payroll shipment of some sort. Felix’s Julius’ surrealistic powers and a sentient train help stop a bandit and his gang from stealing said payroll.

Listen, this thing is impossibly weird, it’s public domain, and it’s only a bit over seven minutes long, so just watch it for yourself here.

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Now is as good a time as any to mention that this tape would not stay tracked. My screenshots don’t look so bad, but man, while in action I had to keep screwing around with the tracking controls. By the end, even the patience of your Northeast Ohio Video Hunter was being tried, and believe me, I’m no stranger to wonky trackin.’ This was a pretty cheap tape, recorded in EP, and that coupled with one of my lower-end VCRs, well, the results are never gonna be Criterion-quality when I go that route.

The second-half of the tape opens with this, 1936’s Somewhere in Dreamland. Wonderland, Dreamland, the (loose) theme continues! According to Wikipedia, the first few minutes of this cartoon are sometimes cut, though the complete (?) version is found here. Note the black bar obscuring the original copyright info above; was that even necessary? Near as I can tell, this one has been in the public domain for decades. Then again, the bar doesn’t appear then-recently implemented, and there’s a NTA title for the ending card, so maybe it was first used when this one hit television? That’s my best guess, anyway.

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Somewhere in Dreamland is very much a depression-era cartoon. In it, two poor kids haul a wagon around collecting firewood for their home. They can’t afford sweets or any of the other things kids ostensibly desire. A sad moment early on has their mother feeding them stale bread, and crying when one of them says they’re still hungry. Given the then-current situation in pre-WWII US, it’s pretty powerful imagery, especially for a kids cartoon. One can’t help but feel that the early scenes of the short really hit home for more than a few viewers at the time.

No, chief, none of that’s the Dreamland of the title; it’s not an ironically-named cartoon! Rather, Dreamland is where the two kids visit when they go to sleep that night. (I guess they dream in tandem?) Dreamland is filled with all the things they don’t have access to in real life: Nice clothes, sweets, toys, general pleasantness. And it’s all accompanied by a dreamy (“you don’t say?!”) song playing throughout, which is probably exactly how you’re envisioning it to be, if you have any familiarity with cartoons from this era.

There’s a suitably happy resolution to the cartoon that, despite being obligatory, I can’t help but feel was a little disheartening to the real children of the depression that were originally watching this. But then, I’m probably reading too much into this.

Being a Max Fleischer work, there’s also some incredible 3D-rotating backgrounds on display, too. Being a Popeye veteran, I’m well-accustomed to these, but nevertheless, I’m always wowed by them. Go ahead and watch this cartoon for yourself here.

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The tape finishes with Toonerville Picnic, the only cartoon that doesn’t really fit in with the loose dreamy, surrealistic theme of the tape. I mean, there’s wacky, unrealistic situations here, but really no more so than any other cartoon of the time – or now, for that matter. Indeed, Brentwood Video (who had some kind of partnership with Amvest, late in the life of the latter) released a VHS in the 1990s that was pretty much the exact thing content-wise as what we’re looking at today – except Toonerville Picnic, which was dropped from the line-up. At least that’s how I understand it, not personally owning that Brentwood release myself.

From 1936 and based on a long-running comic strip, this was one of Van Beuren Studios’ all-color Rainbow Parade series entries. Actually, it was not only the final Rainbow Parade entry, but from how I understand it, also the final cartoon Van Beuren put out, period. Maybe their final thing ever, for all I know.

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This is my least-favorite short of the tape. Don’t get me wrong, I’m not really ga ga over any of these, but as I said, I like the weird, out-there vibes coming from the cassette. Toonerville Picnic kinda stops all that dead. What, Amvest/Kids Pics couldn’t find one more trippy public domain cartoon to finish off their blockbuster VHS release? Bah! Maybe I’d like it more if I had some actual experience with the comic strip it’s based on, but I don’t so I don’t.

Not that it’s really a bad cartoon, mind you. Just not my favorite. In it, Mr. Bang, who has a temper to match his last name (i.e., he’s in a constant bad mood) is ordered to get some rest, so he heads to the beach. What he gets is an annoying dog, an uncooperative chair, and a homicidal octopus. You’ll have that, after all.

Look, I’m tired of talking about this tape. Just watch this one for yourself here. (Link has a different opening card from what my copy features, but whatever.)


My conclusions?

This is a neat tape. It’s a little out there, but it’s neat. On the surface, it looks like just another run-of-the-mill budget cartoon tape. Playing it though, that’s where things get interesting. Instead of being yet another presentation of the “usual suspects” of PD animation, this is instead an interesting collection, featuring four fairly obscure shorts. In fact, all four were new to me.

‘Course, Alice in Wonderland is the centerpiece, and boy, is it a trip. The extreme editing it suffered gives the short a real, I don’t know, stream-of-consciousness feeling, I guess you could say. Whether the complete 1949 original is like that, I do not know. But as to what’s seen here, it’s truly a wild, wacky trip back to budget VHS past, and it totally sets the tone for the rest of the video. Sure, the shorts get progressively less strange as they go along, but all in all, this isn’t a bad 30 minutes or so for lovers of “huh?!” cinema. I didn’t realize how fortuitous the tape would be when I discovered it at that thrift store several weeks back, but boy, good find.

And it was only 60 cents!

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!

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*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.

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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…

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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…

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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.

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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.

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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.

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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!)

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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!)

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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.

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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!)

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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…

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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 [Confirmed]*
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.

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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…

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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?

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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?

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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: Well, as of 6/28/17, it’s a four-way ‘favorites’ tie; I had since discovered Grampa’s version of The Devil Bat, and now, The Ape Man, too! Instant VHS royalty, both of them!) No, Al Lewis isn’t on the sleeve, but he’s present where it really counts, and that’s more than enough to rank this tape up there not only with my favorites in the line, but also up there with the favorites of my not-inconsiderable VHS collection as a whole. That’s a big statement coming from me, but I have zero problem making it.

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

Have a great Halloween everybody!

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

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You want October-appropriate? You got it!

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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A face? Nosferatu don’t need no face!

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

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

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A face? Nosferatu don’t need no face!

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

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

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

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A head? Nosferatu don’t need no head!

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

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

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

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

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

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

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


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

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

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

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

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

Alpha Video – Range Riders (1934) DVD Review

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

They sleep in coffins, man!

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Another cool aspect: Bela’s basement laboratory.

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

Bela’s got a cool lab, man!

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Well, maybe just one to hang up somewhere…

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

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

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

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

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

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

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

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

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

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

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

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


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

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

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

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

(* = Indicates that I personally own a copy of that title, and thus I know for sure it was released by Amvest in some form at some point. [Confirmed] = Indicates this title was indeed released as part of the Grampa Presents series, either with him on the tape itself, on the packaging, or both. If Al Lewis is present in or on the tape in any way, I’m considering it officially released as part of the series.)

1. VV-430 – Night Of The Living Dead [Confirmed]*
2. VV-432 – The Little Shop Of Horrors*
3. VV-439 – The Terror [Confirmed]*
4. VV-442 – The Devil Bat [Confirmed]*
5. VV-443 – Horror Hotel [Confirmed]
6. VV-446 – The Ape Man [Confirmed]*
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]

The Nostalgia Merchant’s 1978 VHS Release of 1933’s King Kong

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Happy Thanksgiving!

We are now at quite possibly my favorite point in the whole year: right smack in the middle of the holiday season. The three-pack of Halloween-Thanksgiving-Christmas is the genesis of some of my fondest memories, and every year I look forward to this three-month stretch.

When it comes to Thanksgiving, not only do you have the excitement of Halloween just behind you and the anticipation of Christmas literally right around the corner, but you have a holiday that really gets by on just its own merits; all you have to do is eat and be thankful. That’s it! The absence of the crass, mega-commercialization that has come to define Christmas is something I really like about Thanksgiving (early bird sales on turkey day notwithstanding), though Christmas has the deeper symbolic meaning (at least, it’s supposed to). But then, both of those holidays can entail visiting with relatives you may or may not be able to stand, in which case Halloween gains the upper-hand in the “mental well-being” department. (Ironic, huh!)

In all seriousness, I really do love all three. Why am I not including New Years in that lot? Meh, New Years has always been kind of a downer to me. I see it as heralding the end of the holiday season I have just enjoyed so much, which of course is exactly what it is. Just doesn’t do it for me, man.

Anyway, Thanksgiving. It really is a simple concept (well, unless you’re the one hosting dinner), consisting mainly of eating copious amounts of food, being thankful, however one may personally go about doing that, and in more modern times, watching a whole lotta TV, which of course is the facet of the holiday that this post takes residence in. The annual Macy’s parade and football garner the most attention, but movies can be, and often are, a big, big part of it too.

In that regard, Thanksgiving’s unofficial movie mascot is none other than King Kong and his ilk. Maybe not so much anymore, but for years King Kong, Son of Kong and Mighty Joe Young were staples of Thanksgiving Day television broadcasts in markets all across the country. Indeed, a few years back we took a look at a complete 1979 broadcast of Son of Kong on New York’s WOR-9, and this year, we’re going to see Papa Kong himself in action.

For Thanksgiving this time around though, we’re not going to look at Kong via an old television broadcast, but rather through, quite possibly, the first home video release of the original 1933 film. From 1978, here is King Kong on The Nostalgia Merchant label, and from top-to-bottom, it’s one of the coolest tapes in my collection (I don’t make that statement lightly, either!).

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This is not an easy tape to come across. In fact, it’s pretty darn rare. So when I saw a copy for sale online (the first one I had ever seen, actually) and fairly-reasonably priced to boot, I jumped at it. Money well, well spent, and that’s coming from me, a guy that’s almost perpetually broke!

Yeah, yeah, I can hear it now: “Well, gee, Northeast Ohio Video Hunter, I’m seeing a buncha Nostalgia Merchant Kong tapes for sale online!” Okay, finding the movie on the Nostalgia Merchant label itself isn’t even remotely hard; beginning around the mid-1980s, Nostalgia Merchant had a wide range of films out on video store shelves, complete with pretty cool, eye-catching slipcases. Heck, I’ve had that respective VHS release of King Kong for years now.

This tape, however, isn’t one of those. This is from before all that. From how I understand it, and I’m the first to admit I’m no expert here, Nostalgia Merchant first began life in 1976, at the dawn of the home video era as we now know it. They first specialized in 16mm and Super 8 films and the like, and then, near as I can tell, began releasing their movies on VHS and Betamax starting in 1978. Considering pre-recorded home videos didn’t come on the scene until 1977, Nostalgia Merchant was in the game waaay early on. I have no idea if these were mail-order only releases or how long they were available before the more well-known iteration of the company (apparently after it affiliated with Media Home Video) began re-releasing many of the same movies in their subsequently more-common form, but I do know that these 1978-copyrighted tapes are (at the very least) highly obscure nowadays.

Indeed, I had no knowledge of these super-early Nostalgia Merchant releases at all until I happened upon one at a nearby thrift store some months back. It was volume 3 in Nostalgia Merchant’s line of Laurel & Hardy shorts releases, which was cool enough on its own, but it was the copyright of 1978 that figuratively raised my eyebrows; in this day and age, I really don’t come across tapes of such vintage all that often. When I do, I tend to snap them up, so in the case of Laurel & Hardy, I had no problem plunking down my three big bucks.

Still, for as much as I like Stan & Ollie, which is quite a bit, when I looked at that generic die-cut sleeve emblazoned with all the stars ostensibly available on the label, and especially at the list of other titles available on the back, I couldn’t help but feel that getting some of them in the ‘format’ would be even cooler. Make no mistake, King Kong was way, way at the top of that list. So again, when I happened upon a copy for sale online, I had to take the plunge.

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Now that I’ve got my precious, precious King Kong, I’m seeing several more “gotta haves” listed on the back of the box. In the same vein as the subject for today, Mighty Joe Young is probably now at the top of that list. Furthermore, apparently the only legitimate video release of Return of the Ape Man was on an early Nostalgia Merchant tape like this, so needless to say that’s also something I need in my life, as well.

Believe it or not, I had to order this movie from a Canadian seller, but as the sticker on the back of the box attests, it originally hails from Chi-Town. Whether the tape eventually arrived in Canada due to something such as the owner simply moving there, or instead due to a more convoluted history, I couldn’t say. No matter, it’s in my hands now, and that’s where it’s going to stay.

I find the old video store sticker itself incredibly interesting, too. Since the national Hollywood Video chain was started in 1988, it’s a safe bet a tape this old wouldn’t be showing up at a Chicago chapter. Rather, methinks this was an early video store that happened to share the same name but was otherwise unrelated to said national chain. If someone had more info on this Hollywood Video, perhaps a more exact time-frame for the release this King Kong tape could be deduced (as in, how long it was, roughly, out there).

Anyway, some may see this old school video store sticker as a detriment to the original tape sleeve. Not me. I’m a sucker for remnants of the early video era, and this Hollywood Video of Chicago sticker fits that bill nicely. Besides, these generic early Nostalgia Merchant sleeves were all the same; someone could always switch it with another tape’s sleeve, should they wind up being overly concerned about this sort of thing.

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Like I said above, and just like my aforementioned Laurel & Hardy tape, this sleeve is a one-size-fits-all variety. In other words, it be generic. Anything pertaining to the movie contained within is on the tape label itself, rather than the back of the sleeve as would become common in short order. And actually, that’s not uncommon with these super-early video releases; for example, the very first pre-recorded videos on the Magnetic label eschewed any kind of description (beyond the basic facts of running time, stars, etc.) in favor of a list other titles available.

It wouldn’t take very long for that sort of thing to morph instead into a product that was really trying to sell the prospective buyer on the movie, both in fancy-shmancy artwork and descriptions so vivid they’d practically punch you in the face repeatedly until you decided to just rent the damn tape already. So, seeing these early examples of the format hold some interest beyond that whole initial “thas an old copyright!” exclamation you undoubtedly shrieked, either vocally or mentally.

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Also just like my Laurel & Hardy tape in the same format, the tape kicks off with a static, very “filmy” logo. I really have a hard time explaining it, it has a real home-made feel to it, like it was copied from an actual film reel or something. This site calls it a grainy, 16mm, Film-O-Vision style, and that explains it better than I ever could. See that up above? Thas the early Nostalgia Merchant logo, is what it is.

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I love everything about this movie. Should I ever be required to absolutely, positively name my top 10 favorite films, this original King Kong  is safely, safely on that list. It’s quite simply a film I’ve never gotten tired of.

You know, even though I own the movie many times over, old VHS releases are, to this day, still a severe weakness of mine. This one, I had to have it obviously, but really, any Kong tape I come across and don’t already own, it simply must become part of my collection. And therein lies a tale…

It all stems from when I first saw the 60th anniversary edition (with the swanky roaring chest box) for rent in 1996. I knew only the most basic details of Kong beforehand, but as soon as I laid eyes on that tape (and pressed that oh-so-cool roarin’ button), it became a film I had to see. It doesn’t hurt that I was just getting into horror and sci-fi films and general tape collecting around that time, either. I was with a friend and his mom at a kinda far-off video store when I saw that rental tape, so it couldn’t really come home with me right then, and besides, I wanted to own the film outright.

Problem was, the tape was released in 1993 (1933, 1993, 60 years, dig?), and in the three years since, for whatever reason, it was impossible to find for sale. Remember, this was before Amazon, eBay, and such. You were basically limited to the brick-and-mortar stores around town, and if Blockbuster couldn’t order it, guess what? Y’all was outta luck. (Oddly enough, I later did ask mom to call that store about the Kong tape, and they seemed to have no idea what we were talking about. The hell?)

So, being a young video taper, I banked on a TV airing. Even then I knew Kong was a Thanksgiving movie. But as luck would have it, it didn’t air that Thanksgiving. Figures. It didn’t really air anywhere at all, truth be told. So, I settled for whatever Kong did show up on TV. Before I was actually able to see the original, I recorded, watched, and became a Kong fanatic via the 1976 remake (which was, in retrospect, pretty bad, but I didn’t know any better at the time), the Japanese entries (King Kong Vs. Godzilla & King Kong Escapes), even the Son of Kong sequel I wound up seeing before I saw the movie that started it all.

Anyway, eventually Turner Classic Movies ran the original, I taped it, and here we are. But like I said before, to this day, when I come across a Kong tape, I pretty much need to buy it. Simply because it was so hard for me to see for so long. Doesn’t hurt that it’s a terrific movie that I appreciate more and more as the years go by.

That’s the title screen up above, by the way.

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I can’t imagine anyone stumbling upon this post that hasn’t seen the original 1933 King Kong by this point. When it comes to classic giant monster movies, it’s pretty much the cream of the crop. From storyline to special effects to pure excitement, it’s incredible just how well this movie has held up. Some of the acting and attitudes date the film to the early-1930s, but those are easily forgotten thanks to the overall aura of timelessness that is the hallmark of genuinely great movies from the time period. Remember my similar sentiments regarding Undercurrent? They’re even more apt in regards to King Kong.

(Some spoilers ahead)

The plot concerns filmmaker Carl Denham (Robert Armstrong), famous for his many jungle movies, who wants to make the biggest and best jungle flick of them all. He needs a pretty face though. So, he heads out into New York to find the perfect girl for the part. He comes upon Ann Darrow (Fay Wray), who has some acting experience, albeit limited.

Ann is everything he’s been looking for. So, he enlists her for the picture, and he and his crew set off on the high seas, headed towards the mysterious “Skull Island.” The natives there supposedly worship a god they call “Kong,” an idea that hopefully promises to be the very spectacle Denham needs to make his film the massive success that he wants it to be.

When they finally arrive at the island, they stumble upon the native ceremony featuring their latest “bride of Kong.” The natives are initially angry at the interruption, until they notice Ann, and begin making offers for her (Denham: “Yeah, blondes are scarce around here.“). Denham and his crew obviously make a hasty retreat back to the boat.

That night though, the natives sneak aboard the ship and kidnap Ann. Her absence is quickly noticed, and the crew sets out to rescue her. When they arrive back on the island, they find that Ann is set as the new bride for Kong.

As per the screencap above, that’s when King Kong himself makes his grand entrance. Kong is a gigantic ape, the king of his domain, and he is instantly enamored with Ann. He grabs her and runs off into the jungle, leaving her would-be rescuers with little choice but to go into the unknown after her.

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Kong ain’t the only big giant thing on Skull Island, though. Turns out numerous prehistoric creatures call the place home as well. Dinosaurs, pterodactyls, snakes, they’re all humongous and they all have to be dealt with along with Kong. Kong not only thwarts his pursuers, he’s also a scrapper; he fights (and defeats) every creature that comes his way, both to protect Ann as well as to further assert his dominance. This is Kong’s turf and he rules it completely.

The special effects here are largely of the stop-motion animation variety. Despite being from 1933, they, against all odds, hold up wonderfully today. Even with all the CGI trickery of modern movies (including Peter Jackson 2005’s version of King Kong, which was really far better than a remake has a right to be), stop-motion has such a, I don’t know, more natural look to it, I guess. It’s amazing how special effects from the early-1930s can still portray so well the emotions of the creature they’re animating. Somehow, you really believe Kong is excited, happy, angry or hurt. It’s uncanny!

Willis O’Brien was behind the stop-motion animation, and one viewing of King Kong is all it takes to know why he was such a master at his craft.

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Ann is eventually rescued and Kong is captured and brought back to New York. A spectacle such as Kong is even better than the picture Denham intended on making!

For as great as the entire movie is, this is my favorite part of the film, when Kong escapes, re-captures Ann, and goes on a rampage throughout the city. The contrasts between the real jungle and the concrete jungle are obvious here, and just like on Skull Island, Kong is nearly unstoppable. He wages a path of destruction everywhere he goes, probably just as much out of fear and confusion as it is anger and protection of Ann.

For me, one of the most memorable parts of Kong’s trek through New York is his wrecking a passing train. The shots of the passengers unknowingly hurtling toward Kong and then the looks of shock and fear on their faces when he attacks drives home a point that may be hard (or even unfathomable) for some modern viewers to grasp: there was no instant communication back then! Kong could stomp around the city, surprise people in their apartments, even wreck a train, and no one would be the wiser until he’s upon them. No cell phones, no texts, no news update. I don’t know why this little aspect stands out to me, but it does.

The rampage through New York is actually fairly short, especially when compared to the amount of time spent on Skull Island, but it basically acts as the prototype for every “big huge monster causing havoc in a major city” film that was to follow. King Kong wasn’t quite the first movie to tackle this or other plot points featured in the film (1925’s The Lost World basically served as a test-run for much of this), but few, if any, films ever did it better.

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And that all leads to one of the greatest moments in cinematic history: the climatic sequence of Kong climbing to the top of the Empire State Building and battling oncoming airplanes sent to shoot him down so Ann can be safely rescued.

I think we all know how it ends: Kong puts up a valiant effort, but in the end, the bullets take their toll and Kong tumbles off the building to his death. And yet, even though the ending is common knowledge nowadays, it still manages to be absolutely thrilling. And, despite the carnage, you actually feel for Kong here; you can actually see how he realizes he’s not going to win this fight, and you actually feel sympathy when he, in his own way, says goodbye to Ann before he gives up the ghost. The whole sequence is just fantastic.

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And that ending scene! Even if you’re just limiting yourself to giant monster movies, it’s hard to top it: after Kong has met his demise, Denham pushes his way through the crowd and looks sadly at the creature. His response to the statement that the planes got him? “It wasn’t the airplanes, it was beauty killed the beast,” one of the great final lines in movie history. That coupled with that last image and then the fade-out, man, it’s just fantastic.

Yeah, I know, I just gave away much of the film, but even so, if you haven’t seen this movie, go see it! I can’t possibly do it the justice it deserves in just this article alone.

A couple points about this particular release of King Kong:

First off, it’s pretty scratchy and dirty. Some scenes are way too bright, and some scenes are way too dark. It looks more like an old television print than it does a home video release; heck, this might be an old television print, though it’s missing the identifying hallmarks of such (i.e. the old “C&C Movietime” logo that vintage TV prints often carried). Most people probably didn’t care at the time though; it was such a novel concept to be able to own and watch a movie at home whenever you wanted that the print quality of the movie wasn’t that much an issue. Still, it’s probably safe to say that this is the roughest looking print of Kong ever released to home video proper (excluding pre-VHS/Beta releases, of course).

Also, the label states the run time is 105 minutes;  Ignore that. The running time is closer to 97 minutes. Yes, this is an older, cut print of King Kong!

Lemme explain: when Kong was first released in 1933, it was a Pre-Code film. That is, it was released before the infamous Hays Code was rigidly enforced. But, the film was so monumentally popular that it was re-released numerous times throughout the years when the Hays Code was rigidly enforced. Thus, scenes that passed muster the first time around were steadily excised for subsequent releases. Segments featuring Kong ripping off Wray’s clothes and sniffing his fingers, stomping and chewing on natives, and dropping a woman to her death during his New York rampage were all deemed inappropriate and eventually edited out of the movie.

Those scenes were later rediscovered and added back to the film, and most home video releases (to the best of my knowledge) are of the complete King Kong…but not this one. That’s right, many (or even all) of those ‘controversial’ segments are missing from this early Nostalgia Merchant release! Whether this is a result of this being an old print prepared for TV or just a pre-restored print in general, it’s still pretty surprising to see this cut version of the movie, especially since every home video version I had seen prior had all of the footage. Even the later Nostalgia Merchant releases specifically touted the film as the uncut version.

I’m not complaining though. In this and age, it’s nearly impossible to find a version of the film that isn’t complete. But to watch one of the older variations, one that several generations of movie lovers probably grew up with, and in its probable initial home video release, no less? That’s pretty cool!

By the way, the long-lost spider pit sequence isn’t in this one, either.

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It’s tough for me to find words adequate enough to portray just how cool this tape is. Sure, at heart, it’s just an old, scratchy, edited print of King Kong. It wouldn’t be the choice of purists, I know.

But that’s not really the point. This was, in all likelihood, the first release on the then-fledgling VHS home video format. It’s not even just that this was probably the first, either; rather, it’s what that represents (and this goes for the early years of home video in general). That is, no longer would someone have to wait for their favorite film to show up on TV, which in the case of King Kong, could conceivably not be until next Thanksgiving. With a tape like this, any day could be Thanksgiving.

And that’s yet another reason why I do what I do and collect what I collect. It goes beyond the movie, beyond the copyright date, and deeper into what it all represents as a whole. Man I love this hobby.

Plus, it is a really, really old release of King Kong. I can analyze all day if need be, but when it comes right down to it, that’s just neat. No way could I have envisioned owning this when I first set my eyes upon that roaring box edition way back in 1996!

Have a great Thanksgiving, everybody!