What could be better for Halloween than the new Blu-Ray release of Universal Classic Monsters: The Essential Collection , with deluxe editions of eight classics: “Dracula” (1931, 75 min.), “Frankenstein” (1931, 71 min.), “The Mummy” (1932, 74 min.), “The Invisible Man” (1933, 71 min.), “The Bride of Frankenstein” (1935, 75 min.), “The Wolf Man” (1941, 70 min.), “The Phantom of the Opera” (1943, 93 min.), and “The Creature from the Black Lagoon” (1954, 79 min.).
“And I would have gotten away with it if not for you meddling kids!”
Scooby-Doo and his pals are the ultimate in funny-scary. Created for television by Hanna-Barbera in 1969, the stories of investigations of haunted amusement parks and mysterious monsters. In early episodes they all turned out to be hoaxes designed to keep people from discovering some sort of skullduggery but later on there were some real paranormal encounters. The characters were inspired by the popular “Dobie Gillis” television series based on the stores by Max Schulman, with Fred an amiable everyman, Velma the brain, Daphne the rich girl, and Shaggy the goofy one. The dog breed was unsettled in the planning stages, and sheepdog and German Shepherd were considered before they settled on a Great Dane. He was originally called “Too Much” and the name Scooby-Doo was inspired by the “doo be doo be doo” part of the Frank Sinatra song, “Strangers in the Night.” Celebrate Halloween with some tricks and treats from Scooby-Doo.
People often ask me if I’ve ever walked out of a movie. Fortunately, I seem to have an endless tolerance and sometimes even affection for bad movies. But just once, I did insist on leaving the theater, and a delightful tribute to William Castle’s horror movies on Turner Classic Movies reminded me of the film that did drive me from the theater. It was Castle’s 13 Ghosts.
While William Castle worked with legendary Hollywood artists like George Stevens and Orson Welles, he is best remembered for his cheesy horror films, produced on micro-budgets but marketed with magna-artistry. Indeed, his marketing campaigns were far more creative than his films with fantastic gimmicks like a life insurance policy for anyone who died of fright during the film and a plastic skeleton that flew out into the audience from a wire above the screen. He even wired seats in the theater to give the audience an electric shock for The Tingler.
As often happens in thrillers, there comes a point near the climax when a character is warned not to go into a dark, menacing house. Of course, she goes anyway, but before she does, the movie gives us a “fright break.” A stopwatch on screen counts down 45 seconds to give those who are too terrified to find out what is inside that house to leave and get their money back. According to director John Waters, a Castle fan, when people actually took advantage of this offer,
William Castle simply went nuts. He came up with “Coward’s Corner,” a yellow cardboard booth, manned by a bewildered theater employee in the lobby. When the Fright Break was announced, and you found that you couldn’t take it any more, you had to leave your seat and, in front of the entire audience, follow yellow footsteps up the aisle, bathed in a yellow light. Before you reached Coward’s Corner, you crossed yellow lines with the stenciled message: “Cowards Keep Walking.” You passed a nurse (in a yellow uniform?…I wonder), who would offer a blood-pressure test. All the while a recording was blaring, “Watch the chicken! Watch him shiver in Coward’s Corner!” As the audience howled, you had to go through one final indignity — at Coward’s Corner you were forced to sign a yellow card stating, “I am a bona fide coward.’“ Very, very few were masochistic enough to endure this. The one percent refund dribbled away to a zero percent, and I’m sure that in many cities a plant had to be paid to go through this torture.
I hope not many got their money back. The surprise in the house is pretty wild!
In “13 Ghosts,” a family moves into a spooky house. The gimmick is explained by Castle himself at the beginning of the film. I was so sure that the ghosts were real that I insisted my mother take me out of the theater. But now, I own the DVD, which of course came with its own ghost viewer.
As we think about scary movies for Halloween, I wonder what the vampires in “Twilight” or “True Blood” would think of one of the earliest screen depictions of a vampire, “Nosferatu.” If the story seems familiar, it is because they wanted to film “Dracula” without paying for the rights to the original story. A great mystery grew up around the actor who played the title role, Max Schreck, inspiring the Willem Dafoe film, Shadow of the Vampire.