Trailers from Hell
Trailers from Hell showcases classic previews of past movie attractions punctuated with humorous commentary by iconic filmmakers. The series includes Joe Dante (Gremlins) on horror movie The Terror and Edgar Wright (Shaun of the Dead) praising one of his seminal influences Danger: Diabolik.
The first Video Nasty came not only before video but from the esteemed Michael Powell, whose career was sidetracked into shorts for The Childrens' Film Foundation by this much maligned and misunderstood rumination on the dark powers of cinema. In the US it was relegated to skinflick houses and grindhouse second features.
The worldwide success of Mario Bava's official directorial debut spurred the brilliant cinematographer on to a new career and made an international star of the entrancing Barbara Steele. U.S.distributor AIP changed the title and claimed it was too scary for anyone under the age of...well, 12.
Jack Rabin and Irving Block were a couple of indie FX mavens whose works ranged from Night of the Hunter to Robot Monster. But one of their most offbeat creations was the giant alien robot Kronos, who wanted not Our Women but Our Energy. On its own terms it's a pretty nifty little picture, with an emblematic 50s sci-fi cast.
His 1935 "Things to Come" is more prestigious, but famed production designer Wm. Cameron Menzies reached his directorial zenith with this deliberately unreal "B" that has creeped out several generations of kids. The great Art Gilmore narrates a classic trailer for a seminal movie. In SuperCineColor!
An exploitation picture staple was the cutdown feature version of the 12-chapter serial, but they were seldom directed by filmmakers as distinguished as Fritz Lang, who fled Hitler to become a Hollywood success. But in 1960 AIP bought two elaborate 1957 German-made Lang adventures and combined them into one hectic movie.
Another enormous Samuel L. Bronston historical spectacle with big stars and epochal Euro production values, directed by the perennially underrated Anthony Mann, fresh from his being fired from Spartacus.
The truncated third US release (after earlier tries as "Mania'", then "The Psycho Killers'") of John Gilling's 1960 retelling of the Burke and Hare story that formed the basis for Robert Louis Stevenson's "The Body Snatcher". Cut by a reel and a half and aimed at the lowest of brows, this version ends with Donald Pleasence getting a torch in his face.
One of the great comic book movies of all time from the brilliant Italian director Mario Bava, whose visual dexterity was never widely appreciated during his lifetime. An uncharacteristically elaborate 1967 pop art production for which Bava nonetheless employed his usual lovingly hand-made in-camera tricks.
Hammer competitor Amicus Films found their mojo with this 1964 multi-story horror omnibus, which led to countless iterations of the same formula, including their biggest hit "Tales from the Crypt". The genius of the portmanteau system was that the actors were often needed for only a few days, which allowed for casts that were almost ridiculously classy.
The subtle terror techniques that Robert Wise learned from his mentor Val Lewton are on uncanny display in the creepiest haunted house movie of them all. (The trailer's not too subtle, though.) Compare the original to the lamentable remake to see the difference between art and CGI junk.
Basil Rathbone's coldly obsessed Dr. Cadman looks like a dry run for Peter Cushing's Baron Frankenstein in this florid period monster rally with scary makeups by Gordon Bau. Akim Tamiroff's role was intended for Peter Lorre.
By the time Swedish wrestler and best-selling Halloween mask Tor Johnson made this, his all-time worst picture, his career was behind him and the days of Ed Wood must have looked like Eden. The longest 54 minutes in movies.
Clifford Odets and Ernest Lehman's corrosive look at Power in America as typified by an unscrupulous and possibly insane Broadway columnist modeled on Ed Sullivan and Walter Winchell. Brilliantly directed by the underrated Alexander Mackendrick. A must-see.
Universal was the leader in slickly produced 50s genre pix, and here's another eerie desert-set chiller from Jack Arnold with good special fx and creepy makeups. Leo G. Carroll, one of Hitchcock's favorite actors, classes up the joint as the scientist whose serum results in big buggery.
Taking up the lurid mantel of Mario Bava, former film critic Dario Argento rocketed to international prominence with this highly influential giallo which spawned countless imitations. This is the international trailer made for export.
Billy Wilder royally p.o.'d most of the Hollywood establishment with this devastatingly dark yet moving take on the tragic decline of silent movie queen Norma Desmond (an unforgettable Gloria Swanson), pushed aside by an unfeeling industry. One of the all-time greats. "I AM big! It's the PICTURES that got small!"
Everybody's favorite director Carl Denham (Robert Armstrong) is dodging bill collectors who want him to pay for King Kong's Big Apple antics and finds himself back on Skull Island with the lovely Helen Mack in this hastily-produced sequel. A family tragedy during production resulted in fx genius Willis O'Brien entrusting some of the animation to assistants.
Stephen Bochco and Michael Cimino were among the writers of fx wizard Doug Trumbull's melancholy 1971 space odyssey, which has taken on belated luster in our globally steam-heated present. One of Bruce Dern's finest hours.
It's pretty much a bromide that if James Dean had not died at his peak he might have ended up like Troy Donahue, but in this emblematic Nick Ray film, released after Dean's death in a 1955 auto accident, he continues to electrify new generations with his raw emotion.
A rather inelegant retitling of Gary Sherman's British thriller "Deathline", originally pitched to the grindhouse crowd but eventually rediscovered by critics and audiences on tv and video. One of Donald Pleasance's finest hours.
"Howdya like to drag that one to the High School Prom?" leers a horny astronaut while ogling the shapely acolytes of Queen Yllana, leader of the all-girl Venusian population. "I hate zat qveen", grumbles Chief Scientist Zsa Zsa Gabor, who doesn't appear to be in on the joke. Silly, spoofy and cheerfully chauvinistic, this one has many fans, some of them straight.
Dick Clark produced Richard Rush's ode to the Haight-Ashbury scene, filmed on location by Laszlo Kovacs in Psychedelic Color. Remember, as Dean Stockwell tells us, "all the games gotta go, or else it's just a plastic hassle"!
Anticipating punk rock, Peter Watkins' semi-documentary study of a future society using music to enslave the masses appropriates some unauthorized reenactments from the National Film Board of Canada's groundbreaking Paul Anka docu "Lonely Boy". How Universal ended up distributing this is a mystery even they couldn't solve.
Sci-fi specialist Jack Arnold's best Western casts Audie Murphy against type -or is he?- as a cold-blooded hit man who just might be Death personified and brings fear to a town full of guilty people. An underrated gem.
Although one wag said of director Stanley Kramer's all-star Cinerama extravaganza, "it shows what happens when a man who doesn't understand drama tries to do comedy", the years have been kind to it. Nostalgia for the once-in-a-lifetime ensemble cast alone would get it by, but the extravagant stunt work that seemed so unwhimsical in 1963 is now commonplace in movie comedy.
Peter Lorre's Hollywood debut is one of the weirder pix ever to come from MGM, or maybe anywhere else. One of ace cinematographer Karl Freund's rare forays into directing, and his last. Gregg Toland photographed it, and years later Pauline Kael would claim he stole a lot of shots from this to use in Citizen Kane!
Orson Welles' most mysterious film has him playing a sinister international tycoon who, like Charles Foster Kane, is obsessed with his past, which he can't remember -- or can he? A motley assortment of the director's pals fill out the various roles, including then-wife Paola Mori.
Billy Wilder took a lotta brickbats for this "vulgar", "tasteless" and "crude" sex comedy set in Climax, Nevada, which was roundly condemned from pulpits and lecterns countrywide in 1964. Its sleazy reputation has been somewhat rehabilitated over the years as pop culture has raced to embrace such concepts as DNA hair gel and carnal relations with baked goods.
Fascinating mixture of science fiction and social comment from Hammer Films circa 1961. Rumored for a long-overdue dvd release, this bleak but moving atomic parable still packs a punch and was recently unveiled in its original cut on Turner Classic Movies over 40 years after its truncated release. With an emotion-packed score by James Bernard.
Writer Jack Nicholson and star Peter Fonda told Roger Corman he couldn't make a movie about LSD without trying it at least once. So Roger took a caravan of pals to Big Sur, where he dutifully dropped acid and communed with the elements. Out of it all came his most personal and revealing film, a pop art time capsule that was banned in Britain for nearly a decade.
In 1961 Roger Corman took a flyer from his exploitation roots and made one from the heart, from Charles Beaumont's angry novel inspired by the rabble-rousing exploits of Southern racist John Kasper. When exhibitors refused to book it, Corman returned to Edgar Allan Poe and the movie disappeared into grindhouse hell under titles like Shame and I Hate Your Guts. William Shatner stars, but Corman's first choice was...Tony Randall!
Jack Clayton's masterpiece, one of the greatest cinematic ghost stories, is ill-served by this lowbrow trailer that sells it like a cheap Eurotrash import. Film debut of the lovely and talented Pamela Frankin.
Giant monster specialist Bert I. Gordon's only somewhat improved followup to "King Dinosaur" was shot in 1955 but didn't make it to theaters til 1957, on a double bill with Ulmer's "Daughter of Dr. Jekyll", satisfying only the fans of pert starlet Gloria Talbott, who starred in both.
Credited to Stanley Kubrick, taking over from Anthony Mann (whose casting choices appear in abundance), this troubled epic from revered Lefties Dalton Trumbo and Howard Fast has become a touchstone of 60s cinema and for good reason -- it's less pious and more honestly moving than the comparatively overblown Ben-Hur.
Howard Hawks' riposte to the likes of "High Noon" and "3:10 to Yuma" is one of the great Movie Star Westerns, cannily targeted at every demographic available.
Edgar has his own thoughts on the very different American trailer that accompanied the US release of Argento's classic.
"Psycho" spawned a cottage industry of twist-ending killer-thrillers, and this modest Hammer entry is one of the best. Psycho's unconventional ad campaign also led to gambits like this one, pretending the movie was just too scary to show any actual footage in the trailer!
Another elaborate personalized Hitchcock trailer. His "sex mystery" followup to The Birds has its adherents, but Larry Cohen isn't one of them. Nice Bernard Herrmann score though, and the star of Family Plot has a supporting role.
Terence Fisher returns to direct the first (and best?) of six sequels to the groundbreaking Curse of Frankenstein, bringing new complexity and plenty of gallows humor to the character of Baron Frankenstein, the alternately malevolent and admirable protagonist whose grand experiments just never seem to work out.
Renowned for the flying brains and sputtering gore of its final reel, this British sci-fi set in Canada has maintained semi-classic status over the decades despite the fact that it's actually pretty uneventful.
Comic director Blake Edwards revisits his noir roots in this 1962 suspense classic cannily filmed on San Francisco locations. One of the biggest hits of the early 60s. And one of the most unusual trailers.
For his third outing as a director, cinematographer Nicolas Roeg came up with this sublimely creepy adaptation of a Daphne Du Maurier story shot on location in Venice. The simultaneous release of "The Exorcist" took some of the wind out of its sails in the US, but it's now considered a horror classic.
A satirical labor of love from animator Charles Swenson that ended up vying with "Fritz the Cat" for X-rated grindhouse playing time. There's a lot of wit and imagination on view, but hardly anyone ever saw the picture.
Low-budget auteur Edgar G. Ulmer, who gave us "Detour" and "Man from Planet X" proves you can't win 'em all with this derivative and nonsensical second-feature set in the 1800s, but shot in a Hancock Park mansion through whose windows 1957 cars can be seen driving by.
Take the "D-13 Test" to find out if you're too crazy to see this shot-in-Ireland axe murder thriller from fledgling director Francis Ford Coppola. The gorgeous Luana Anders has one of her infrequent leads here, and Ronald Stein's score is one of his best.
Albert Zugsmith's shining moment in an amiably disreputable career that nonetheless included producing pix by Sirk, Welles and Jack Arnold. Only Fu Manchu is missing from this hypnotically retrograde yellow peril hallucination starring Vincent Price and half the Asian actors in Hollywood.
This is the international export trailer for Mario Bava's trend-setting 1971 murder spree, presented entirely in solarized images. This film has had so many titles over the years that we don't have room to list them, but the one that stuck was the brilliant US reissue title "Twitch of the Death Nerve".
The first of eight collaborations between noir specialist Anthony Mann and a newly flinty James Stewart, this psychological western exudes corrosive post-war anxiety. It also trailblazed a groundbreaking profit participation deal (engineered by Stewart's agent Lew Wasserman) that transformed the industry. Dan Duryea shines in a classic bad guy performance that defined his career.
AIP toppers were floored by the unexpectedly positive reviews this lightning-in-a-bottle satire garnered in the volatile political world of 1968. The right movie at the right moment, it captured the mood of a country in crisis and propelled star Christopher Jones into a short-lived mainstream career that included a starring role in David Lean's "Ryan's Daughter".
Sure it's creaky, but this early talkie from poverty row was the first zombie movie and visually it's still pretty cool. Bela Lugosi is the indelibly named Murder Legendre, head zombie master on a Haitian plantation where the dead don't charge for their labor. First takes seem to be the rule, as there are a number of flubbed lines and missed camera moves. This is the 1952 reissue trailer.
Raoul Walsh's most muscular gangster pic with an all-time great James Cagney as Cody Jarrett, the psychotic killer that only a mother could love. She's the underappreciated Margaret Wycherly, brilliant as the most monstrous mom since Agrippina. But she doesn't get much attention in the trailer.
George Pal's pioneering H.G. Wells adaptation updates the action to 1953 Los Angeles, with Oscar-winning state-of-the-art visual fx and sound effects so great they're still in use today.
George Pal's greatest work finds the humanity in H.G. Wells' classic, ably served by Oscar-winning fx, Russ Garcia's memorable score and Rod Taylor and Alan Young's warm performances. A touchstone for a generation. Paul Frees seems quite enthusiastic about it!
The US trailer for Mario Bava's ecological killing field tries to talk us out of seeing the movie!
One of the bigger interplanetary spectacles of the 50s, and one of the last films shot in 3-strip Technicolor, Universal's "Supreme Excitement of Our Time" brought out the sense of wonder in a generation of cold war tykes while scaring them half to death with the unlikely but cool "Mutants": "similar to the insect life on your own planet, but larger of course."
Nine years after Hiroshima the atomic chicken has come home to roost in the shape of giant ants, soon to be followed by jumbo mutant radioactive lizards, locusts, scorpions, etc. The near-biblical template for the dozens of nuclear monster movies that followed it, this is one of the most influential movies ever.
This 1953 film was a rugged five-character psychological western and the third collaboration between James Stewart and Anthony Mann.
For their 1957 "Silver Jubilee", Universal offered this occasionally accurate biopic of its biggest silent star, Lon Chaney, as portrayed by the always reliable James Cagney.
Long before Gordon Gekko told us "greed is good", Sir Guy Grand (Peter Sellers) embarked on a mad quest to prove that everyone has their price. Terry Southern transforms his cynical novel into a nihilistic lark full of celebrity cameos and Monty Python-esque gags, some contributed by actual soon-to-be Python members.
Philadelphia-born Director Richard Lester sandwiched this wacky paeon to Swinging '60s London between "A Hard Day's Night" and "Help!". Based on Ann Jellicoe's play and notable as the fleeting screen debuts of Jacqueline Bissett, Jane Birkin and Charlotte Rampling.
Former animator Frank Tashlin sums up the 1950s in this hilarious live-action cartoon, a Mad Magazine parody come to life. The first major studio picture to showcase breakout rock&roll stars.
Terence Fisher's seminal vampire triumph pits Cushing against Lee in their greatest Hammer pairing and sets the pace for the next two decades of movie horror. This is the original Universal theatrical trailer, not the video reconstruction that appears on the Warner dvd.
Former tabloid reporter Sam Fuller's dynamic movies have been called crude and primitive, but at their best they play like a punch in the jaw. Fox's Darryl F. Zanuck believed in him and afforded the indie-oriented Fuller his most mainstream commercial opportunities in the 50s. This is the most exotic of the group.
Remarkably self-reflexive drive-in monster rally set at American International Studios, whose execs are being murdered by actors in monster makeups. Unofficial sequel to both Teenage Werewolf and Teenage Frankenstein.
Lightning in a bottle: AIP's penchant for making bargain- basement movies based on title and poster research paid off in spades with this hugely influential amalgam of juvenile delinquent and monster genres. The surprise hit of 1957.
Fannie Hurst's four-hankie bestseller had been filmed before in 1934, but Douglas Sirk's 1959 remake, his last Hollywood film, is the one to remember. Derided at the time by critics and audiences, it has come to sum up Sirk's serial attack on the hypocritical institutions of family and motherhood as practiced in '50s America.
The long-vanished 1930s tradition of feature-length parades of vaudeville and radio acts reaches its zenith with this racy pre-code vehicle for performers both famous and forgotten. What we wanna know is, where can we find more of Colonel Stoopnagle and Budd??!
"Actually filmed in the wilds of the Dark Continent!" H. Rider Haggard's adventure classic gets the MGM treatment with spectacular location shooting that provided years of stock footage for cheaper jungle pictures.
A great cast swashbuckles its way through Henry King's piratical spectacular with an assist from Leon Shamroy's Oscar-winning Technicolor cinematography. Splendid hokum in the overstuffed Darryl Zanuck tradition.
Footage from several different movies has been cannibalized for this sleazy AIP favorite, which exists in alternate versions with various titles. Jack Hill, one of the co-conspirators, gives his side of the story for film scholars to pull out their hair over.
John Sturges' formalist masterpiece is also a progressive studio movie confronting post-WW2 racism. Andre Previn's possibly career-best music score turns up again in, of all places, the "Forbidden Planet" trailer!
When is a movie not even a movie? When it's just a patchwork of senseless footage cobbled together to make an unfinished project marginally releasable. Even the trailer for this is a mess.
Shot near Tarrytown, New York as "The Head That Wouldn't Die", this sleazy little gem sat unreleased for two years until AIP picked it up in 1962. Their numerous censor cuts for reasons of "good taste" (as if!) have been since restored and the whole sordid farrago is now available pretty much everywhere in its full, fuzzy public domain gory, er, glory.
An angora-loving gorilla sets his sights on the curvy heroine in this bizarre Ed Wood jungle concoction that's evaded the Golden Turkey brigade only because he didn't direct it. They don't make 'em like this anymore, and anyway, they hardly ever did.
Sergio Leone's 1968 masterpiece gives the lie to the term "spaghetti western". In a hastily shortened version it was a box-office disappointment in the U.S.but it played in the same theater in Paris for years.
Probably the best known of the AIP Corman/Poe series, circa 1961. Writer Richard Matheson had to concoct an almost entirely new story incorporating Poe's central situation. The great Paul Frees narrates the trailer.
Castaways on a tropical island run by Nazi fugitives who turn native girls into monsters! If that sounds appealing to you, then this threadbare 1958 drive-in cheapie is up your alley!
Having added some comedy to his earlier Poe trilogy "Tales of Terror", Roger Corman went all out for humor in this popular 1963 entry, which was nevertheless sold basically as a straight horror film. But the image of Peter Lorre in a bird costume was kind of a tipoff...
A most unusual trailer (almost a short subject at nearly 7 minutes long) from 1960, when Hitchcock had merchandised himself a la Walt Disney into one of the most recognizable movie directors on earth. WARNING! MR. LANDIS REQUESTS YOU WATCH THIS TRAILER FIRST WITHOUT HIS VOICEOVER TO ENJOY MR. HITCHCOCK'S NARRATION.
If you want monsters, this last gasp (circa 1957) of the old-fashioned mad doctor movie delivers in spades. Made for a division of ABC television.
This 1963 offshoot of Roger Corman's popular Edgar Allan Poe series has slipped into the public domain and is available on countless video labels, usually in crummy looking prints... this is from an original 35mm Technicolor print.
A "sleeper" is a boxoffice success that comes out of nowhere. And no one expected this modest 1960 British import, based on John Wyndham's "The Midwich Cuckoos", to catch the attention of a worldwide audience and inspire its own (some think even better) sequel.
The first coproduction between England's Hammer Films and American International Pictures is an appropriately lurid affair, with many heaving bosoms showing the telltale marks of Carmilla, the lesbian vampire. Not as arty as Roger Vadim's superior "Blood and Roses", this was a big enough hit in 1970 to spawn two pulchritudinous follow-ups, "Lust for a Vampire" and "Twins of Evil".
It's not exactly "The Lost Weekend", but Oscar-winner Ray Milland does pretty well for himself by this low-budget but intriguingly Promethean 1963 sci-fi outing from Roger Corman, which anticipates the alternate reality concepts of his later "The Trip". Of course the trailer is more interested in the "X-ray specs" aspects of the idea, like seeing through women's clothes!
Petrified is right! 30 percent new movie plus 70 percent stock footage equals one of the more outrageous excuses for a feature film since, well, since the previous Jerry Warren picture! But you gotta hand it to Jerry -- he made Ed Wood look like Bernardo Bertolucci, but he got these things made and people paid to see 'em!
This much maligned and conversely beloved 1953 cheapie, one of the most bizarre and notorious "bad movies" ever, sports some surprisingly imaginative use of 3-D. Sold to tv only a few months after its theatrical release, it provided a surreal video jolt for fifties tykes with its lurid end of the world scenario. With a cool music score by the then-blacklisted Elmer Bernstein.
This time the Corman/Poe series moves to England for what is generally considered the best film in the series. Tabloid news was made circa 1964 when costar Jane Asher's boyfriend visted the set: Paul McCartney.
William Castle followed up "Macabre" with this trend-setting, darkly comic quintessential B-picture whose 1959 success cemented Vincent Price as a horror icon for the next two decades.
First in Roger Corman's profitable series of Edgar Allan Poe adaptations, this 1960 excursion into quality from AIP spawned an entire series based on the idea that high school kids could watch them and then do book reports without reading the originals!
Shot guerilla-style all over New York City by celebrated maverick and TFH contributor Larry Cohen, this is one crazy movie! A homicide spree hits town and the perps have only one thing in common: they all say "God told me to!" Apocalyptic to say the least!
They don't make 'em like this anymore: those huge sets and cast of thousands aren't computer-generated but absolutely real, and those 1964-era actors are a darn sight more interesting than a lot of those we have on hand today.
An indication of the attention to detail that distinguishes this 1957 triumph of concept over execution is that the walking tree monster Tobonga (who terrorizes the tropical island of Griffith Park) is identified as Baranga in this trailer!
Kansas industrial filmmaker Herk Harvey's barely-distributed 1962 ghost story languished in obscurity for years, but has now taken its place as one of the most influential indie productions of the sixties.
Made in 1968 and shelved for nearly two years, this is one of the most intelligent science fiction pictures of its decade, but it failed to find an audience. An updated remake has recently been announced. Could we really be worse off with a computer running everything?
