Tag Archives: vintage vhs

VHS Review: Scared to Death (1947; Goldstar Video Corporation’s “Tales of Horror” Series, 1992)

Meet my newest video obsession: Goldstar Video Corporation’s Tales of Horror budget VHS series. It may not be my biggest video obsession (that title still belongs to Amvest Video’s Grampa Presents tapes), but it’s definitely my most recent. And truth be told, it is in a safe 2nd place…for now, anyway.

You know, these tapes had been nagging at me for awhile, and upon first glance, y’all may be wondering why. After all, the movies featured were the same public domain staples that had (have) been making the home video rounds for decades. And, unlike the Grampa Presents series, there was no made-for-video horror hosting amongst the proceedings. Add to that a graphical layout that’s practically the budget VHS “tradition” in a nutshell and, well, there’s a reason people aren’t bidding these up to $100+ on eBay, okay?

And yet, I was continuously enamored by the series. Made up of at least 24 volumes (cause that’s what this one is), and all featuring the same graphical layout that, while clearly in the aforementioned budget tradition, also aptly recalls Halloween. Seriously, the blood-drippin’ “Horror” of the title, along with the stark white background? Thems like bloody bones or somethin’, man. (In other words, a perfect cheap Halloween video pick-up, circa 1992 of course.)

And don’t downplay the whole ‘volumized’ aspect of these, either. These aren’t just cheesy old movies thrown out there for the penny-pinchin’ consumers to devour; this is, or was, a legit collection. Think of these as the horror movie, home media version of baseball cards; you gotta go after ’em all! What’s that, you’ll trade me your Honus Wagner card for a Tales of Horror? Forget that noise, yo. (Also, that devour pun just now would have made much more sense had this been their release of Night of the Living Dead.)

Plus, I’m just sucker for budget VHS horror and sci-fi in general. There was really no way I couldn’t end up loving this series, truth be told.

So anyway, my tape. That’s it above. As my inaugural entry into this series, I chose 1947’s Scared to Death, starring Bela Lugosi. Bela has gotten more than a little spotlight time on this blog, but Scared to Death, despite my waxing fondness for it, has not. It’s maybe not the coolest release of the film in the budget VHS realm – that would undoubtedly be the Grampa Presents version of it, which I own but haven’t written about (you can only go to that well so often, dig?) – but as a maiden voyage into Goldstar’s series, I was pleased with the decision. I’m a Bela fan, and I (inexplicably?) like the movie, so hey, why not?

As I said, these tapes all feature the same general layout. That is, the bloody Tales of Horror banner across the top, the volume number in the bottom-right corner (fittingly placed in a pool of blood), and in the middle of the cover a diagonal film strip featuring a somewhat- pixelated image from the movie along with the title above it and a starring (or in Dementia 13‘s case, directing) credit within. It’s not exactly something CBS/FOX would have put out back then, but it nevertheless gets the point across. I like it!

One may be tempted to be irked by the fact that a large plot-point is given away on the front cover here, but then, an even larger plot-point is given away by the very title of the movie. Oh, did I just spoil a 70-year-old movie for you? My bad, dawg.

Aside from the extreme early-1990s-ness of this tape’s presentation, I’m fond of it for another reason: It reminds me of my grandmother. No, she never had any of these tapes at her house, but she had budget videos like them. I assume she got them all from Avon. There were a bunch of them though, and from the sparse cover art to the (relatively) obscure manufacturers, as a young tape-head I got a big kick out of them. One time, she even gave me the copy of 1935’s Scrooge that had been sitting in her VHS cabinet for years; I forget who made it, but when I took it home, it promptly got stuck in our VCR. Look, you got a budget VHS tape, you took your chances. That’s how it went.

So no, Grandma never had this at her house, but had her collection featured more horror and sci-fi, I could certainly see it being there. Is it weird that that thought takes me back, even if there’s nothing actually to take me back to? (Fun Fact: This paragraph and the one preceding it were plucked from an unpublished article on a budget Bela 4-VHS-pack that I nixed in favor of this post. Never let it be said I don’t recycle!)

Here’s our back cover. Gotta love the additional blood drips along the top!

I have to say, this tape features a pretty decent synopsis of the movie, waaaay better than I would have ever anticipated beforehand. That’s not a shot at Goldstar or anything, it’s just that with budget tapes, the descriptions on the back could range from good, to mediocre, to downright amateurish. I posit this one falls more towards the “good” side of that scale.

I might have re-worded the second sentence a bit, but that’s the only real issue I have with the description. Also, huge, HUGE props for not saying saying this is Bela’s only color film (more on that in a bit).

Also, I have a feeling that last sentence was intended to be tongue-in-cheek.

There were apparently more than a few companies using the name “Goldstar” back in the day. The one I’m familiar with was the electronics manufacturer (example). So is that the same company that put these tapes out? I’m guessing it’s not; GoldStar of electronics fame capitalized the “S” in “Star.” A look at the copyright info at the bottom of this back cover says that this Goldstar did not. I keep this investigative work up and I’ll have to apply for a private investigator license.

Fun Fact: Freehold, New Jersey was the childhood home of Bruce Springsteen. Also, the Grampa tapes were manufactured in Rahway, NJ. So, was Jersey like the unofficial capital of low-cost VHS or something?

Speaking of which, as was common with budget videotapes such as this, the movie is recorded in EP, though the cover makes no such mention of the fact. I wouldn’t have a problem with that, except man did I have a hard time getting this one to track. Granted, I was using a beater VCR, but even so, this was a little rough, trackin’-wise. Goldstar actually managed to get a fairly decent print of Scared to Death, I just wish the picture wasn’t so shaky…

1947’s Scared to Death is a movie I like, despite the fact that, well, it’s really not very good. Like so much of Bela Lugosi’s 1940s poverty row output, the film has lapsed into the public domain and therefore had more than a few releases on VHS and, now, DVD. That said, it doesn’t hold up as well as The Corpse Vanishes or Bowery at Midnight; the plot is disjointed, Bela doesn’t do a whole lot in it, and none of the characters are all that likable. George Zucco co-stars, which is cool, and the movie as a whole manages to be a fun slice of late-1940s matinee. Still, it’s kinda bad. A good bad, but bad nonetheless; lovers of this stuff will dig it, but others? Well…

Scared to Death does feature a couple of interesting gimmicks. First off, it’s Bela’s only starring color film. The myth that it’s his only color film period has floated around forever, and while that might make a good selling point on the back of some cheapo video release somewhere, it’s not technically true. I mean, for all intents and purposes it’s true, but technically, it’s not. (He was in at least one color film as a bit player, and apparently there’s one or two other instances of color Lugosi, too).

Also, the film is notable for being told from the point-of-view of a dead woman. As in, it’s narrated by a corpse. Since it’s told in flashback, yeah, the title totally spoils the whole thing before it ever has a chance to build any momentum whatsoever. While an interesting idea, especially for a poverty row production, the whole idea doesn’t really play that well; every time the story gets moving, the film will jarringly break to the same shot of the dead woman on a morgue slab, she’ll say a line or two (usually just a brief statement, which is almost comical), and then it’s back to the movie proper. Like I said, it was an interesting idea, and it ‘makes’ the movie, but in truth, it doesn’t work.

Scared to Death‘s plot involves one Laura Van Ee, our body-on-the-slab who, prior to that, is unhappily married to one Ward Van Ee (yes, that’s really his last name), the son of Dr. Joseph Van Ee (Zucco). Dr. Van Ee runs a practice, and is keeping Laura there against her will. Apparently she’s stressed out or something along those lines; she vehemently denies that she needs medical care, and since it’s established early on that her marriage to Ward is in a shambles, and we know right from the start that she winds up dead, it can automatically be assumed Ward and his father are behind the whole thing.

Soon after, Dr. Van Ee’s cousin Professor Leonide (Lugosi) shows up at the facility. It’s eventually established he was once a patient there, and was able to create a number of secret passageways and whatnot during his stay. (Seriously? How would he actually manage that?)

Soon after, disturbances involving Laura increase. A dummy head made to look like her arrives in the mail, and green masks are seen floating about outside the windows. Clearly someone, or something, is trying to drive Laura batty! The fact Laura has a severe aversion to blindfolds, and thus is presumably hiding something, only adds to the drama. (Also, I’m not sure how we’re supposed to feel sympathy for our ostensible heroine when she claims she’s “alone and friendless,” but is nasty to pretty much everyone.) At one point, Zucco gets conked on the head, and Bela and/or his diminutive assistant pop in and out of secret doorways, so yeah, there’s definitely something afoot at the facility.

Also on the premises are an idiotic private detective, a smartypants maid the detective is in love with, and eventually, a pushy reporter and his annoying girlfriend.

There really aren’t any likable characters in the movie. Dr. Van Ee and his son, despite first impressions, are probably the best of the bunch, though that’s not saying much. The private detective is there for comic relief, but quickly makes you want to shatter your TV in a fit of fruitless rage. The reporter is, well, he’s a typical movie reporter, though he’s also the closest thing to a hero in this movie, which is a wash since he’s also pretty nasty to everyone in his vicinity, not the least of which is his girlfriend.

Eventually it comes to light that Laura, years prior, had given her first husband up to the Nazis (!), and though believed dead, it turns out he became the assistant to Leonide, who was a magician. And then Laura dies. Like I said, the plot is kinda all over the place, though at only a bit over and hour, it isn’t all over the place for very long.

I probably shouldn’t like this movie as much as I do. Bela isn’t in it a whole lot (come to think of it, neither is Laura; the reporter and detective get much of the running time here), the plot is disjointed and silly, and the comic relief totally falls flat time and time again. And yet, I do like the movie; it’s such a sincere bit of post-war, matinee goofiness, that I can’t find myself hating it. It’s a movie that couldn’t have really come from any other time but the late-1940s, and the color-aspect of it really does stand out from the rest of Lugosi’s poverty row oeuvre. It’s stupidly entertaining, if nothing else, anyway.


I think, like the Grampa Presents tapes, one of the most interesting things about this Tales of Horror series is how movies that weren’t going to to scare anyone in the least were dressed up to appear absolutely terrifying. Oh sure, Night of the Living Dead is an exception, but by and large, stuff like Scared to Death wasn’t even remotely frightening. Maybe to very small children, but to an adult? I seriously, seriously doubt it.

That’s not a bad thing though. I always get a kick out of how these cornball old horror and sci-fi movies were dressed up and made to look like legitimately scary features. It’s the same ideal that amuses me about budget video releases of b-westerns starring John Wayne, made to look as if they’re “real” Wayne features and not something that had been floating around the public domain for eons.

In summation, Goldstar did a fine job with what they had; they made their series of videos look visually appealing, but without being prohibitively expensive. The whole Halloween-ish aura that surrounds them is still cool to this day, and if you’re into budget VHS like me, that counts for a whole lot.

The Tales of Horror series ran the gamut of cheesy old horror movies like this one, to 1950s sci-fi (Indestructible Man, Monster From Green Hell), to even some late-1960s stuff (the previously-mentioned Night of the Living Dead). There was even more Goldstar could have put out, and I presume they would have had this series run longer. But, the series as released still holds plenty of interesting, albeit mostly expected, stuff; it’s a pretty solid line-up of vintage horror, if nothing else.

Online searches turn up more than a few of these tapes for sale; while they’re not as common as, say, a UAV or Goodtimes version of a given movie, they *do* pop up frequently enough, and usually on the cheap side. Seems Goldstar was able to get fairly decent distribution for the line, but subsequent interest nowadays is, except for me, a bit low. Still, this is all certainly a nice change of pace from my spending too much money I don’t really have on Grampa tapes.

I hate to say it, but I sense my fascination with these tapes is only going to grow. I can’t just have one volume! And you know, I’m perfectly okay with that!

Advertisements

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!

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!

*Cricket Chirps*

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

GRAMPA!

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

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

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

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

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

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

They are undoubtedly cool, however…

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

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

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

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

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

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

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

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

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

Movie time!

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

One more thing about Night

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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


Whew! Done!

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

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

Previously, Grampa Presents The Corpse Vanishes was my de facto favorite entry in this series. But now, I’ve got to amend that standpoint a bit: It’s now safely tied with this one. The Corpse Vanishes is still my favorite “traditional” release; cheaper packaging, the Grampa advertising all over it, etc. Nevertheless, this Night instantly shot right up there next to it. (EDIT: 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!

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

king kong 1978 vhs 13

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!).

king kong 1978 vhs 18

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.

king kong 1978 vhs 19

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.

king kong 1978 vhs 20

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.

king kong 1978 vhs 1

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.

king kong 1978 vhs 3

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.

king kong 1978 vhs 6

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.

king kong 1978 vhs 8

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.

king kong 1978 vhs 10

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.

king kong 1978 vhs 11

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.

king kong 1978 vhs 12

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.

king kong 1978 vhs 21

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!