Here's a fun "what if" I concocted based on a concept by "King Kong" (1933) chief animator Willis O'Brien.
His proposed sequel, for which he made some fascinating preliminary sketches (like the one in the very last shot of this video)...
...involved the giant ape going into battle against an oversized Frankenstein Monster.
I neither own nor claim any rights to any of this material, nor am I profiting from it. Just having a little Monster Kid fun with it!
"Eve." She doesn't actually wear a bikini--more like two strips of gauze--but that doesn't matter since she gets naked pretty quick anyway. A carnal encounter with Ingrid reveals Eve's tendency to crackle with electricity whenever they connect the minus to the minus, so to speak.
in regard to the sex scenes while boasting pretty much the same cast. This time Frankie Cullen and Tony Marino play Jack and Roger, a couple of office drones who decide to unwind at a flashy new strip club called Shadows, which just happens to be a front for a bunch of beautiful vampires who drain male customers of their money, sexual energies, and blood. 
their considerable poledancing skills. Ultra-fabulous babe Brandin Rackley, who has instantly leapt into the top five of my favorite actresses of this week, is especially awesome in this department (although the exquisite Christine Nguyen offers her close competition in terms of hotness). The opposite of her goofy "Ingrid" character from BIKINI FRANKENSTEIN, Brandin's "Tabitha" is sublimely gorgeous and seductive. In fact, she should be receiving my marriage proposal in the mail any day now, and my fingers are crossed that she'll check the "yes" box. Wish me luck! 
"You're hurting me!!!"
Definitely one of the most often used lines in movie and TV history.
We collected as many examples as we could find, but there are doubtless many more of them out there.
Video by Porfle Popnecker. I neither own nor claim any rights to this material. Just having some fun with it. Thanks for watching!
(Originally posted on 2/25/18)
Since the brain of Ygor (Bela Lugosi) was placed into the Monster's skull in GHOST OF FRANKENSTEIN(1942)...
...Lugosi was chosen to play the Monster in the follow-up, FRANKENSTEIN MEETS THE WOLF MAN (1943).
Thus, the Monster, now partially-blind, would speak with Ygor's voice.
But before the film's release, all references to the Monster's speech and blindness were removed.
The Monster's stiff, lurching walk is now unexplained...as are his silent mouth movements.
At 60, Lugosi was in need of stand-ins for the more strenuous scenes.
Actor/stuntman Gil Perkins looked so good in the makeup, it is he whom we first see in close-up as the Monster. Another actor/stuntman, Eddie Parker, also plays the Monster.
Perkins and Parker then take turns as Monster and Wolf Man during their climactic fight...with Bela appearing in the close-ups.
Originally posted on 1/5/22
I love FRANKENSTEIN MEETS THE WOLF MAN (Universal, 1943) because Lon Chaney, Jr.'s Wolf Man is my favorite monster, and this is the best Wolf Man movie ever, at least in that you get to see a lot of him, his story is interesting, and there are some great transformation scenes. Also because you get two awesome Frankenstein Monsters for the price of one--Bela Lugosi and Gil Perkins--combined to make one great tag-team performance that somehow comes together.
Bela, as many will know, was getting on in years when finally given the role of the Monster after famously refusing it in 1931. To be fair, the part probably wasn't all that much as originally conceived, before director James Whale entered the picture with his imaginative revisions.
By the time Bela finally donned the makeup over a decade later, he had Karloff's definitive interpretation to live up to as well as the fact that his distinctive features seemed oddly ill-suited for the role.
Originally posted on 6/6/12
Remember back in the 80s or 90s when "Fangoria" started trying to incorporate wrestling into their magazine? Mainly because editor Bob Martin was such a big wrestling fan and thought it would qualify if he dubbed the really fake-bloody matches "horror wrestling"? And remember what B.S. that was, and how mad I got about it, and how I wrote all those nasty letters complaining about it? Wait, you wouldn't remember that. Heh, heh.
Anyway, that wouldn't have been such a bad thing if what Fango called "horror wrestling" had been as much fun as MONSTER BRAWL (2011), writer-director Jesse T. Cook's geeky homage to both monsters and all that WWE stuff that I generally have zero interest in myself.
Mind you, this movie had to grow on me, and it wasn't until near the halfway point that I started sorta getting into it. Basically, it's like a slicker version of Ed Wood's ORGY OF THE DEAD only with wrestling monsters instead of strippers. Barring some flashbacks, it all takes place in a graveyard in Michigan where the pay-per-view battle of the monsters is going out live to viewers in Canada and beyond. Criswell would've fit right in here, and, needless to say, so would Tor Johnson. With a drunken Ed Wood in drag cheering them on from the sidelines.
Instead, we get venerable Canadian actors Dave Foley ("Kids in the Hall") and horror stalwart Art Hindle (THE BROOD, INVASION OF THE BODY SNATCHERS) as tipsy Howard Cosell-type commentator Buzz Chambers and his crotchety sidekick "Sasquatch" Sid Tucker. Foley and Hindle seem to be having fun with their roles, especially after an unfortunate incident with a zombie results in Sid growing increasingly foul-tempered as the night goes on. Color commentator Jimmy Hart adds his own irrepressible dash of personality from the sidelines with a gorgeous ring girl on each arm.
The monsters themselves are a cross-section of archetypes including Frankenstein ("Technically it's 'Frankenstein's Monster', if you want to be a dick about it"), the Werewolf, the Mummy, Lady Vampire, Zombie Man, Witch Bitch, Cyclops, and a repulsive overweight creature known as Swamp Gut. Most are played by actual wrestlers so the ring action is as "real" here as it is in the actual WWE events, a fact made clear the first time we see gorgeous Kelly Couture as Lady Vampire get body-slammed into the mat. The usual stats graphics and trash talk segments are all here, albeit with a Gothic touch, and there's also the expected quota of dirty moves and illegal use of foreign objects such as meat cleavers and wooden stakes.
Flashbacks to how the monsters got involved in the event take the place of commercial breaks, including a pretty cool creation scene for the Monster. Lady Vampire's segment was filmed on an overgrown estate which is one of the ideal "found" locations that add much to MONSTER BRAWL's look, as does the extremely well-done graveyard set that was constructed in an abandoned warehouse. Monster makeups and gore effects are very nicely rendered by the Brothers Gore and look more expensive than they are. Other major factors in the film's look are good direction and editing along with some above average cinematography.
Humorwise, it's your basic WWE stuff with even more of a satirical twist. Witch Bitch (Holly Letkeman) had me chuckling with her eyerolling performance and so did the vile Swamp Gut (Jason David Brown, who also plays Cyclops and graveyard caretender Cyril Haggard), a veritable fountain of offensive gases and corrosive substances. A news report about the Mummy's escape from a museum warehouse, during which he kills a forklift driver, includes graphics such as "Mummy Kills Dummy" and "MILF Alert: Mummies I'd Like to Find." Proving that even if he can't be in every movie ever made he can at least be heard in them, Lance Henriksen provides the voice of "God" as narrator and occasional fight commentator with concise, throaty quips such as "spectacular" and "phenomenal."
Wrestling fans will find many of their favorite moves here along with some new ones like a meat cleaver to the ref's throat and the old head stomp, with magic and other supernatural forces coming into play. Those who felt cheated by FRANKENSTEIN MEETS THE WOLF MAN's non-ending should welcome the sight of the Monster and Werewolf going at it again--this time to the finish--while a full-blown zombie uprising in protest to their graveyard's invasion by pay-TV provides a lively diversion. I'd also just like to mention again that Lady Vampire (Kelly Couture) is gorgeous, and that if you like strong women wearing black opera gloves, then that's two big fetishes covered right there.
The DVD from Image Entertainment is in 2.35:1 widescreen with Dolby 5.1 surround sound and subtitles in English and Spanish. Extras include commentary with director Cook and producers Matt Wiele and John Geddes, a "making-of" featurette, some Jimmy Hart outtakes, and a trailer.
Some viewers have opined that MONSTER BRAWL is boring and wonder if it even qualifies as a real movie. To the first point I would say that, yes, it is slow-paced and will seem pretty boring if you don't really get into the kind of mood the movie's going for. To the second, I would say...ehh. If ORGY OF THE DEAD was a real movie, then so is this. Will you like it? It's purely a matter of taste. I had fun with it.
Originally posted on 9/7/09
Old monsters never die, they just fade away... Unless, that is, they're given one last chance to shine, as Universal pictures did for their classic monsters Dracula, the Wolf Man, and Frankenstein (really Frankenstein's Monster, since it was the doctor who created him who was named Frankenstein -- but, let's face it, people were calling the Monster "Frankenstein" way back in the early thirties, including Universal's promotional department).
By 1948, the various series starring these definitive movie monsters had wound down -- the scriptwriters were unable to think of new ways to rehash the same old formulas, the Gothic horror style that made these movies what they were had begun to diminish in the shadow of the Cold War and the Atomic Age, and new chapters in these sagas were beginning to end up at the bottom of double bills that drew increasingly smaller audiences.
And so, as Universal became Universal-International and began to cut budgetary corners wherever possible, many of the men who played these monsters and the technicians responsible for bringing them to the screen were, one by one, given their pink slips and sent packing.
However, two stars who were having no trouble getting people to buy movie tickets were the comedy team of Bud Abbott and Lou Costello. And since U-I had all these classic monster characters just sitting around collecting cobwebs, it was decided to team them with the two comics in an attempt to combine the last vestiges of the monsters' popularity with the ongoing success of Bud and Lou, and create what would become a unique and thoroughly entertaining comedy/horror experience. The result was ABBOTT AND COSTELLO MEET FRANKENSTEIN.
Thankfully, the monsters were pretty much allowed to play it straight, without forcing them to perform a lot of pratfalls and silliness. In fact, the opening scene, which finds hapless lycanthrope Larry Talbot (Lon Chaney, Jr.) in a London hotel room fretfully awaiting the rising of the full moon, would have fit perfectly into any of the serious horror films of earlier years. Talbot, it seems, has been on the trail of Dracula, because he knows the infamous King of the Vampires is now in possession of the Frankenstein Monster and is trying to find a suitably compliant brain to surgically pop into his skull and transform the lumbering beast into a willing servant who will do his bidding.
Having discovered that Dracula and the Monster have been transported to a "house of horrors" exhibit in Florida, Talbot is desperately trying to contact the shipping company by phone in order to intercept the crates before they're delivered. And who should answer the phone but Wilbur Grey (Lou Costello), who works there with his buddy Chick (Bud Abbott)?
As Talbot tries to explain the situation to Wilbur, the full moon rises and he begins to sprout hair and fangs (in the first of two excellent transformation scenes). Wilbur hears growling on the other end of the line and thinks that, for some reason, the man has put his dog on the phone. But what he hears is the Wolf Man rampaging through the hotel room, savagely ripping the furniture to shreds in a scene that is every bit as chilling as any of the "official" Wolf Man movies.
After night descends on Florida, Wilbur and Chick deliver the crates containing Dracula and the Monster to McDougal's House Of Horrors. Wilbur, of course, discovers them and is suitably terrified, but a skeptical Chick will have none of it.
Finally Dracula arises from his coffin and takes the Monster to a castle on a nearby island (I know, there aren't very many castles in Florida, but that's not important) where his accomplice, Dr. Sandra Mornay (Lenore Aubert), who possesses the actual diary of Dr. Frankenstein, will perform the brain transplant. Unfortunately, the brain she has chosen for its simplicity and compliance is none other than that of her "boyfriend", Wilbur!
ABBOTT AND COSTELLO MEET FRANKENSTEIN is a dream-come-true for fans of both Bud and Lou and the classic Universal monsters. Although the humor is more situational, with less of the usual comedy "routines" that are found in most Abbott and Costello movies, it is one of their funniest efforts. And it's a real joy to see Bela Lugosi, Lon Chaney, Jr., and Glenn Strange performing their unforgettable characters one last time.
Lugosi, denied by Universal the chance to portray his most famous character since 1931 (John Carradine assumed the role in HOUSE OF FRANKENSTEIN and HOUSE OF DRACULA; Lon Chaney, Jr. appeared as SON OF DRACULA around the same time), relishes the chance to don the famous cape again and gives a wonderfully sinister performance.
Chaney, of course, is great as Larry Talbot/the Wolf Man, and even though he wears a masklike appliance here (master make-up man Jack Pierce, who created the famous make-ups for the Monster, the Wolf Man, the Mummy, et al, had since been let go by the studio, and faster, more cost-efficient methods were now employed), thus making his face less mobile and expressive, still manages to convey the frightening viciousness of the Wolf Man, even in certain scenes in which he must clumsily fail in his attempts to sink his claws into an unsuspecting Lou Costello.
And Glenn Strange, the former stunt man and bit actor who played the Monster in the last two serious entries in the Frankenstein series (HOUSE OF FRANKENSTEIN and HOUSE OF DRACULA) has more to do here than in either of the previous films in which he spent most of his screen time strapped to a laboratory table.
The climax of the film takes place in the castle as Dracula and Dr. Mornay prepare to transfer Wilbur's brain into the skull of the Monster while Chick and Talbot come to his rescue. As fate would have it, the full moon rises yet again and Talbot undergoes his transformation, which leads to a rare battle between Dracula and the Wolf Man (just as Lugosi and Chaney, and their respective stunt doubles, fought in FRANKENSTEIN MEETS THE WOLF MAN five years earlier), while the newly-recharged Monster breaks free of his restraints and goes after Bud and Lou. This results in an extended free-for-all that will delight fans of both genres.
Unfairly maligned by many critics as the final degradation of the classic Universal monsters, ABBOTT AND COSTELLO MEET FRANKENSTEIN is actually a wonderful tribute to them, and a fond way of bidding farewell to these familiar characters that provided so much entertainment to their many fans over the years. If you're one of those fans, and you also appreciate the comedy of Abbott and Costello, this is a film that you'll want to watch over and over again.
Talbot grows more and more agitated as the next full moon approaches, impatient for the doctor to help him instead of fiddling around with the Monster. Ilonka takes pity on him, and plans to shoot him with a silver bullet ("fired by the hand...of one who loves him enough...to understand" she recites gravely) the next time he turns. In one of the best transformation scenes in any of the Wolf Man films, Talbot once again becomes a hairy, fanged beast and rushes out into the night looking for a jugular vein to bite. Ilonka follows him and is fatally wounded, but not before she can fire the crucial shot that will end Talbot's misery.
Daniel is heartbroken when he finds her body, and blames Dr. Niemann for devoting all his attention to the Monster instead of fulfilling his promise to put Daniel's brain into Talbot's healthy body and turn him into a chick-magnet. He attacks the doctor and breaks his back. The Monster, grateful to the doctor for restoring his strength, breaks his straps and lunges off of the table, grabbing Daniel and heaving him through a window to his death. At this point, the omnipresent torch-wielding villagers arrive right on schedule to herd the Monster, carrying the dying Niemann, into a nearby swamp where he stumbles into some quicksand and the two of them sink slowly into oblivion.
HOUSE OF DRACULA (1945)
This is the last film in the series and is another monsterfest like the previous one, again featuring the Frankenstein Monster, the Wolf Man, and Dracula. Also on hand to make it even more monster-packed are "The Mad Doctor" and "The Hunchback", although Jane Adams as a kindly hunchbacked nurse named Nina isn't exactly my idea of a monster.
The "Mad Doctor" in question, Dr. Edelman (Onslow Stevens), is first seen as a respected physician and scientist who is currently working on the creation of a special technique that can heal all sorts of physical maladies without traditional surgery. But progress is slow, and Nina longs for the day in which the doctor can finally work his magic on her.
It isn't long before John Carradine's Dracula shows up at the doctor's seaside mansion, this time seeking a cure for his vampirism. The doctor examines a sample of Dracula's blood under a microscope and discovers that it contains parasites that may cause his craving for blood. He prescribes a series of transfusions which he hopes will solve the problem. Of course, Dracula's ever-roving eye is drawn to Dr. Edelman's other nurse, the beautiful Miliza (Martha O'Driscoll), and before you know it he's forgotten that silly notion about being cured and is hard at work luring Miliza over to the dark side.
Not only that, but during his next blood transfusion he proves what a real first-class jerk he is by reversing the flow and injecting his own blood into Dr. Edelman's veins, which will eventually turn the kindly doctor into a ravening madman (the "Mad Doctor" promised in the film's publicity). But Dr. Edelman manages to thwart Dracula's plans by dragging his coffin into the light of the rising sun and opening the lid, thus reducing the vampire to skeletal form once again.
Meanwhile, Larry Talbot (who somehow survived being shot with a silver bullet in the last movie) has also arrived at the mansion hoping for a cure for his particular problem, but he's come at a bad time--the doctor is busy, and it's almost full-moon time again. He races into town and begs the local police to put him up for the night. They call upon Dr. Edelman to come and take a look at the "madman" they've got locked up in their cell. Edelman tries to convince Talbot that his problem is merely psychological, but Talbot effectively proves him wrong by promptly turning into the Wolf Man (in another excellent transformation scene).
Edelman theorizes that Talbot is so convinced he's a werewolf that it affects him physically, and plans to use his new surgical techniques to attempt a cure. But the next day a despairing Talbot hurls himself off a cliff next to the mansion and into the sea. Edelman has himself lowered down the side of the cliff and discovers Talbot in a cave where the sea has deposited him, then almost dies at the Wolf Man's hands before Talbot returns to human form. Also in the cave is the body of--wouldn't you know it--the Frankenstein Monster. Somehow, after sinking into that quicksand back in the last movie, he has turned up buried in the muck in this cave beneath Dr. Edelman's house, along with Dr. Niemann's skeleton. There's a brief line of dialogue that attempts to explain this, but I hardly find it worth repeating.
Edelman does what anyone else in the circumstances would do--he straps the Monster to a table in his lab, snaps on the old jumper cables, and starts pumping electricity into him. But Talbot and Nina use some really, really corny dialogue to talk him out of it, and he realizes that, sometimes, dormant monsters are better off left alone. So he focuses his attention instead on performing Talbot's operation.
That night, Talbot is sitting in his room recuperating, when he looks out the window and sees Dr. Edelman jumping onto a passing horse-drawn wagon. Edelman, thanks to Dracula's blood, has begun to have spells in which he turns into a maniacal killer. He murders the driver of the wagon and is chased by the villagers back to the mansion. When the police arrive, he has reverted back to his normal self and persuades them to search elsewhere for the killer. But Talbot later confronts him and finds out the truth. Edelman pleads with Talbot to kill him if he becomes a danger to others again, and wishes only to remain lucid long enough to perform surgery on Nina.
The next night, the full moon rises once again and, after a tense few moments, Talbot realizes that his own operation was a success and he is no longer a werewolf. But as he and Miliza celebrate, Edelman goes mad and starts recharging the Monster again. Nina interrupts, so he strangles the poor girl as Talbot rushes in. Edelman advances with murder in his eyes, and Talbot shoots him. In a last moment of sanity, Edelman smiles gratefully and falls to the floor, dead.
Suddenly realizing that all of the other monsters in the movie have either been killed or cured, the Frankenstein Monster breaks his straps and heaves himself wearily off of the table for one last final-reel stomp. The police arrive and he manages to dispatch a couple of them before clumsily knocking over a tall shelf full of volatile chemicals that burst into flame, which, needless to say, he proceeds to wade around in like an idiot. Talbot and Miliza escape to live happily ever after, while the last official chapter in the celebrated saga of the Frankenstein Monster concludes with stock footage of Lon Chaney, Jr. stumbling around during the fiery finale of GHOST OF FRANKENSTEIN.
ABBOTT AND COSTELLO MEET FRANKENSTEIN (1948)
I don't consider this to be an official part of the Frankenstein series, but it's worth mentioning just to note what our old friends are up to in this alternate comedy universe. Somehow, Dracula has come into possession of the Monster (played for the third time by Glenn Strange) and is planning to transplant a different brain into his skull to make him more submissive (which would seem unnecessary, since the Monster follows all of Dracula's orders throughout the movie and calls him "Master").
As fate would have it, of course, the brain he plans to use belongs to Lou Costello as the not-so-bright "Wilbur." Wilbur and his bossy companion, Chick (Bud Abbott), happen to work for the shipping company which receives the crates from Europe containing Dracula and the Monster. Here, Dracula sets up shop in a castle (in Florida?) where, with the help of the evil Dr. Sandra Mornay (Lenore Aubert) posing as Wilbur's girlfriend, he plans to perform the brain transplant.
But Larry Talbot has discovered Dracula's plan and, for some reason, has taken it upon himself to thwart it. The "cure" given him by Dr. Edelman seems to have worn off--he's still regularly wolfing out (in some fantastic transformation scenes). Dracula and the Wolf Man finally do battle before the movie is over, and both end up falling from the balcony of the castle into the sea far below, which apparently kills them (not...bloody...likely!)
After a prolonged slapstick finale--during which Strange racks up more screen time than in the previous two films combined--the Monster chases Bud and Lou onto a dock which is promptly set ablaze, and ends up being roasted alive--again. But as I said before, as fun as this movie is, I regard it as a fanciful footnote in relation to the rest of the Frankenstein films. (Read our full review here.)
And there you have it--the Frankenstein story from beginning to end, one film leading into the next (with varying degrees of continuity) in a saga that lasted for seventeen glorious years. Some of them are among the greatest films ever made, while others are just above-average monster flicks. But they are all endlessly entertaining classics, and all of them feature the most celebrated character in the history of horror movies--the Frankenstein Monster.
GHOST OF FRANKENSTEIN (1942)
As this story begins, the villagers are complaining to the mayor about what a dump their little burg has become due to the curse of Frankenstein. One woman moans that her children cry themselves to sleep each night because "there is no bread." What, did the Monster eat it all? ("Breeead...goood.") Did he knock down the bread factory? Anyway, the mayor finally gives in and allows the villagers to blow up Frankenstein's castle, which prompts them to grab an armload of the nearest dynamite and gleefully scurry off to perform the impromptu demolition.
Before you know it, the castle is a smoking, crumbling ruin, and Ygor, who somehow survived having several bullets pumped into his gut by Wolf von Frankenstein in the previous movie, is weaving his way through massive chunks of flying debris until he comes upon a startling sight--a wall has given way to reveal the solidified mass of sulphur which contains the body of the Monster (a stone-faced Lon Chaney, Jr. this time out), and he is still alive. "The sulphur...was GOOD for you!" Ygor crows as he digs the Monster out. Together they escape the destruction of the castle and, after the Monster is rejuvenated by an obliging bolt of lightning, make their way to the village of Vasaria, where yet another son of Frankenstein (Cedric Hardwicke as "Ludwig") presides over a mental institution while conducting his own advanced scientific research.
Ygor is confident that this Dr. Frankenstein can restore the Monster to his full capacity, but his plan is sidetracked when the Monster breaks into the institution and murders an assistant, one Dr. Kettering. Ludwig will have nothing of Ygor's dastardly plan, instead plotting to destroy the Monster by dissection, until the ghost of his father appears (also Hardwicke) and talks him out of doing away with his creation. Ludwig decides instead to vindicate his father's genius by replacing the criminal brain within the Monster's skull with that of the murdered Dr. Kettering.
Taking advantage of this rare opportunity, the cunning Ygor persuades Ludwig's unscrupulous associate Dr. Bohmer (a leering Lionel Atwill) to make sure that his own brain is placed in the Monster's skull instead. (The Monster's idea of having his brain replaced with that of a little girl he has befriended is vetoed.) When the operation is over, Dr. Frankenstein is shocked to encounter a Monster that speaks not in Kettering's voice, but with the sinister tones of Bela Lugosi's Ygor, who schemes to take over the world now that his evil mind is housed in such a powerful body.
But neither Ygor nor Bohmer foresaw a crucial element--while Kettering had the same blood type as the Monster, Ygor does not--and sudden blindness is the result. As the ever-vigilant villagers once again take action and set fire to the institution, Ygorstein kills Dr. Frankenstein and then rampages blindly through the laboratory, knocking over several vials of flammable chemicals and turning the place into an inferno which, presumably, engulfs him.
That's it for part one! Don't miss the thrill-packed conclusion, in which we'll take a close look at the final four films in the series: FRANKENSTEIN MEETS THE WOLF MAN, HOUSE OF FRANKENSTEIN, HOUSE OF DRACULA, and ABBOTT & COSTELLO MEET FRANKENSTEIN. Coming soon to this theater!
Dr. Frankenstein (Whit Bissell) conceals his cold, sadistic intentions...
...when offering to allow his fiancee Margaret (Phyllis Coates) to be his new assistant.
In reality, he's setting her up to be brutally murdered...
...by his crazed and horrifically hideous teenage monster.
I neither own nor claim any rights to this material. Just having some fun with it. Thanks for watching!
(Originally posted on 1/29/18)
When the television series "Tales of Tomorrow" presented their 1952 live adaptation of "Frankenstein", Lon Chaney played the Monster.
Unfortunately, he thought the live show was a final rehearsal. So instead of smashing the prop furniture, he picks it up and gently sets it back down.
(Later, perhaps as punishment, John Newland shoots him well below the belt.)
After discovering his mistake, Chaney was mortified.
But otherwise, it's a perfectly good performance.
I neither own nor claim any rights to this material. Just having some fun with it. Thanks for watching!
Originally posted on 5/12/2017
Back in the early 70s, it was sort of a "thing" to take popular movie titles and add the word "black" to create new concepts in Blaxploitation. This led to such films as BLACK GODFATHER, BLACK CAESAR, BLACULA, and, last but certainly not least, the unforgettably named BLACKENSTEIN (1973).
(Fortunately, this trend faded out before anyone came up with BLACK JAWS or BLACK ENCOUNTERS OF THE THIRD KIND.)
Despite the rather obvious joke reference of the title, however, BLACKENSTEIN isn't true "Blaxploitation" at all, since it lacks any of the usual dubious elements of that genre (pimps, hookers, drug dealers, guns, gratuitous racial references, etc.).
