Reviews (10)

A Major disappointment
I'm a longstanding, die-hard PHANTOM fan and collector; so I was praying that this would be a lost gem. Turns out to be more of a lost zircon. Tom Tyler is pretty darn AWFUL as the Phantom--not a single aspect of this film identifies it as a Phantom story, except for the presence of Devil -- who's supposed to be a wolf, not a German shepherd (although I'll admit it's one gorgeous animal they have cast here) -- and the Phantom's father. The bad guys consistently and successfully get the drop on Tyler's Phantom, which is not at all typical of the comic strip character. I mean, the thing about the strip version of the character that's so remarkable is his consistency--he's always smarter, faster, stronger, and cagier than the bad guys. Not Tyler's Phantom. And Tyler's Phantom is a terrible shot to boot; the strip Phantom could hit the sweat off a dung beetle on the back of a rampaging bandicoot at 20 yards.

Could they have possibly found a better actor to play the Phantom? Easily. Tyler should have stuck with the 'oaters' and said thanks a heap but heck no to this serial.

One of Columbia's best, fun for serial fans, great print
Most Columbia cliffhangers were made by independent producers, but in 1938-39 and 1943-44 Columbia made its own serials, using the studio's many sets, facilities, and contract players. Columbia's home-grown serials are very efficient, and THE PHANTOM is no exception.

It's a jungle serial, so this writer expected a lot of pedestrian dialogue scenes embellished with old wild-animal footage. It's true that the first chapter falls into this pattern while the story is being set up, but from there it's a lot of fun, almost all of it staged for this production, with Tom Tyler an ideal Phantom. For some reason the supporting cast was not credited, but fans of Columbia will easily recognize Kenneth MacDonald (terrific as the suave villain), Dick Curtis (great to see him play a benign role, for once), Ernie Adams (in a bigger-than-usual role as the Phantom's pal), and some familiar faces in the goon squad (George Chesebro, Wade Crosby, Kermit Maynard, I. Stanford Jolley, Al Hill). Good stuntwork and brisk direction (by B. Reeves Eason) keep this one moving, with Tom Tyler in there punching through 15 chapters. Ace, the Phantom's handsome dog, later became "Rusty" the German shepherd in Columbia's family series.

THE PHANTOM has two pleasant surprises for the Columbia serial fan. The recap narration is exceptionally brief (even though the recap footage is lengthy). And each closing "teaser" of next week's episode does NOT spoil the suspense by showing the imperiled hero out of danger. Every cliffhanger in THE PHANTOM keeps the viewer guessing, for a welcome change.

The print is excellent, with fine picture and sound. Only Chapter 11 has soundtrack trouble for a few minutes, and the video producers have remedied it as best they could. The DVD release also includes commentary by Max Allan Collins of "Dick Tracy" fame. Definitely of interest to serial collectors, and fans of Columbia's "B" movies and short subjects will especially enjoy this.

Long lost Phantom 1940's serial found & restored now on DVD!
...These Saturday morning matinee serials are great fun (before television).

Well "The Phantom" 1943 serial was once one of these long lost films rediscovered, digitally remastered and thanks to VCI Entertainment is now on DVD. This 2 DVD set gives us 15 action packed chapters introduces us to this mysterious character. This is fun stuff.

Summary: Tom Tyler plays "The Phantom" and this serial introduces us to this mysterious family who for generations has played "The Phantom" the man who never dies. It seems that a descendent male member must perpetuate the "Phantoms" existence. Why, because the "Phantom" is the law of the African jungle & keeps the peace among more than 50 native tribes. In 15 chapters the Phantom is poisoned to death,(because he knows of the Lost city of Zolov). His son replaces him before he actually dies. (therefore keeping the legend of the man who never dies going.) Privateers want the hidden treasure of Zolov. Mysterious nation wants to build secret air field at Zolov. Phantom is in the middle. Everyone tries to kill the man who never dies. For 15 exciting chapters we see how the "Phantom" eludes death and escapes periless traps.

The extras include; a One Chapter commentary by famous comic strip writer Max Allan Collins, Biographies, and comic book art.

This is a great secret serial rediscovered for us to watch once again. Enjoy.

can't even watch the tape
My tape was so bad that I can't even watch it to decide if I like the movie or not. Constant scrolling of film that we just cannot adjust. Makes the film unwatchable. Probably too late to return for replacement or credit.

One of Columbia's Better Serials
Columbia Pictures never produced a movie serial comparable to the best Republic cliffhangers. However, "The Phantom" (1943) survives as one of the studio's better efforts, thanks to Tom Tyler's memorable presence in the title role and the assured direction of B. Reeves Eason. Unlike Republic, the Columbia serials were more faithful in terms of comic-strip adaptations. "The Phantom" is no exception. Unfortunately, Columbia lacked the solid production values and crisp pacing of the Republic serials -- further hindered by the studio's excessive 15-chapter length. Still, "The Phantom" makes the most of Columbia's low-budget shortcomings with its effective jungle setting and above-average cliffhanging exploits. As "The Ghost Who Walks," Tyler is a terrific action hero and does not rely on a stunt double during the fight scenes. Fans of Lee Falk's comic-strip creation will not be disappointed. ... Read more

Amazon.com

After 15 years of hit movies for Universal Studios, Bud Abbott and LouCostello left the studio in the twilight of their partnership with the last oftheir monster comedies. Decked out in desert safari gear, the boys go lookingfor a job with an Egyptologist and wind up in the middle of a conspiracyconcerning the murdered professor, an ancient mummy, and a magical medallionthat, true to form, bumbling Costello manages to eat for dinner. Marie Windsor,the boss lady of a gang of treasure hunting crooks, dresses in a harem outfit tovamp for our chubby little hero, and the eternally stiff Richard Deaconhilariously plays the leader of an Egyptian mummy cult like a high schoolprincipal decked out for Halloween. Directed by longtime collaborator CharlesLamont, it's a typical Abbott and Costello farce with disappearing corpses,mistaken identities, and wacky word plays ("Take your pick" riffs on "Who's onfirst" with garden tools). While not as clever or spirited as their originalmonster mash Abbott and Costello Meet Frankenstein, the vaudevilleveterans are still masters of the double take and fast-talk patter, and thepicture climaxes with a screwball chase that involves not one, not two, butthree mummies skittering through the phoniest looking pyramid this side ofcommunity theater. You were expecting realism? The boys appeared together oncemore on film, in Dance with Me, Henry, and then split up. --SeanAxmaker ... Read more

Reviews (13)

After All
Name any other mummy in any other mummy show who is that nimble and has loose bandages half coming undone, who takes your hand when you put it out to him. Or Marie Windsor in a harem suit at Dr. Zoomer's house chasing Lou around. Or Bud wondering if a lost tie clasp was showing up on the x-ray of Lou's stomach. Name a more pitiful hole ever dug in the history of movies.[about 2 feet deep to bury TWO mummies.] Or Bud just happening to find a bag of bandages so he could be a mummy too. Just watching Marie wheel her horse around [she was a champion rider who was able to run and mount a horse from behind like the Lone Ranger, the only actress able to do that.] is a pleasure. This may be the best movie ever made....just trashes Citizen Kane. I have it tied with 'Dr. Strangelove' and 'The Apostle' as the three best movies ever made. Pure Poetry, every minute.

Yikes! The comedy is kept under wraps here...
The Abbott and Costello films fit into one of two categories; really good or really bad. Sadly, this film sits in the later camp. I'm not sure what the screenwriters and Bud & Lou were thinking when they concocted this strange mishmash of bad comedy and bad horror. The Universal Mummy films were always the weakest of their horror films (the exception is the eerie but really slowwwwww first film with Boris Karloff. It's only alive in the very beginning).

I'd suggest sticking with the first and best of this bunch A&C Meet Frankenstein. All the later films (including Dr. Jekell & Mr. Hyde)are little more than pale imitations.

Any A&C film is only as good as their routines. This one, sadly, doesn't have very inspired ones. The best involving the tools is a pale imitation of the who's on first variety. They don't make them like this anymore (on second thought....what about all those Halloween and Friday The 13th sequels? They're not comedies? What?)

Best of the "meet the monsters" series
Fans of the original Mummy movie featuring Kharis the mummy, The Mummy's Hand (not to be confused with Boris Karloff's radically different and unrelated 1932 film titled "The Mummy") could have seen this movie coming. The original film that introduced Kharis is somewhat in the same vein as Abbott & Costello as far as story and characterization are concerned. In fact, the original duo cast in the Mummy's Hand are similar to and could have been better cast as Abbott & Costello.

In a sense, this movie brings Kharis full circle long after the demise of Ananka in his own movies, he finally meets his end here in a slightly more humorous picture than his first. However, the similarities between the two could almost make this the final instalment in the canon, other than out of continuity (like Abbott & Costello's other "meet the monster" movies).

My only complaint with this DVD is that it did not have a great commentary like Abbott & Costello meet Frankenstein. But it's still a great DVD, and the sight of the two charicatures running madly accross the main menu is enough entertainment (yes, i can be simple-minded, but then again it is Abbott & Costello i'm talking about).

Abbott & Costello, sadly, did not go on to make any more pictures after this one, but this is still some of their greatest material. So in two ways, this movie has a sense of finality: the last Kharis movie, and the last Abbott & Costello movie. It should also be a must-have in the collection of any fan of either.

My favorite A&C movie.
Saw these and liked them as a kid in the 1950's. My kinds don't care for them. This is the one i liked the best.

Who Cares About Behind-The-Scenes Grumbling?
ABBOTT AND COSTELLO MEET THE MUMMY was one of the funniest of their screwball antics. The tale of the two cleverest yucksters chasing a medallion to an ancient Egyptian crypt where they encounter -- as the title promises -- the Mummy is one classic set of laughs after another. All of the trades touched on the bitterness the two men felt for one another during the filming process of this outing, but, with all the magic of their performances still on the silver screen, you sure wouldn't know it. A great transfer for a classic addition to any DVD library, this is one for the ages. ... Read more

Amazon.com

Son of Frankenstein Basil Rathbone comes to Transylvania to inherit his father's estate in this second sequel to Frankenstein. The townspeople are suspicious, but young Frankenstein has no interest in reviving his father's work--until he discovers the monster hidden away in the castle, inert but very much intact and watched over by Ygor (Bela Lugosi), a sinister, snaggletoothed peasant with a broken neck. Convinced to revive the creature and vindicate his father's name, Frankenstein toils away in the lab not realizing that Ygor plans to use the monster to revenge himself on the jury that sentenced him to hang. Boris Karloff makes his final appearance as the Monster, now little more than a mute, lumbering robot under the hypnotic control of Ygor. Rathbone is a dignified, suave scientist and a marvelous match to Lugosi's mad Ygor, a richly malevolent performance that dominates the film. Lionel Atwill makes a marvelous addition to the Frankenstein gallery as the wooden-armed constable, a legacy of the monster's rampage 25 years before. (Mel Brooks's loving lampoon Young Frankenstein, a veritable remake of this film, features the constable and his lumber limb in a major role.) Universal abandoned horror films in 1936, but the success of this sequel single-handedly revived the genre. Though lacking the gothic splendor and macabre humor of James Whale's originals, Rowland V. Lee's handsome production remains an intelligent, well-made classic of the genre and Universal's last great horror film. Lugosi returns as Ygor in The Ghost of Frankenstein.

The Ghost of Frankenstein The monster lives! Again! Picking up where Son of Frankenstein left off, Bela Lugosi's gnarled Ygor survives yet another rampage by angry, torch-carrying villagers and frees the monster (The Wolf Man himself, Lon Chaney Jr., taking over from Boris Karloff) from his sulfur grave. The latest cinematic Frankenstein scion, brain surgeon Ludwig (Cedric Hardwicke), wants to dissect the creature, but the ghost of his father convinces him to save it by giving it a new, "good" brain. Ygor has his own devious plan and enlists Ludwig's shady assistant (Lionel Atwill) in a brain-switching scheme.

Ably directed by the pedestrian Erle C. Kenton, The Ghost of Frankenstein gives up the gothic mood and moral quandaries of the original films for the busy, action-packed plots that defined Universal horror films of the 1940s. The human characters are all rather dull (except for Lugosi's animated, eye-rolling performance), and Chaney has none of Karloff's pathos or subtlety under the make-up, but the film opens with a spectacular bang as the villagers dynamite the castle, and skips from one inspired scene to another. The monster rejuvenates himself during an electrical storm with a jolt of lightning, mutely undergoes a courtroom cross-examination (by a ridiculously intent Ralph Bellamy), and finally goes on a blind rampage in the fiery climax. Frankenstein's monster returns (this time with Lugosi as the creature) in Frankenstein Meets the Wolf Man. --Sean Axmaker ... Read more

Reviews (8)

Exit Boris Karloff, enter Lon Chaney, Jr.
My view of these two films runs counter to that of many Frankenstein fans. I found Son of Frankenstein rather disappointing, while Ghost of Frankenstein actually rather impressed me. I wasn't that impressed with Bela Lugosi's character Ygor in the first film but warmed up to him quite well in the second (this is not to say Bela Lugosi did not do a superb job in both - I just didn't think the character of Ygor worthy of him in Son of Frankenstein). I also found the performance of Lon Chaney, Jr., as the monster in Ghost of Frankenstein more engaging than that of Boris Karloff in Son of Frankenstein - while Karloff will always be the definitive monster, his character really had little opportunity to shine in the last of his three Frankenstein films.

Son of Frankenstein has its charms, but what I see here is the beginning of the stereotypical monster. Sure, he has a couple of somewhat emotional scenes, but all such emotions are turned into hatred and manifested in a desire to kill and destroy. This film does have a saving grace, however, in the form of Lionel Atwill, who steals the show time and again as Inspector Krogh. Basil Rathbone starts out quite swimmingly as Baron Wolf von Frankenstein, but the mania that overtakes him in the second half of the film just doesn't ring true to me, especially when the man's sudden desire to justify his father's work takes precedence over the safety of his own wife and child.

Some twenty-five years have passed since the events chronicled in Bride of Frankenstein. Baron Wolf von Frankenstein (Rathbone) has now returned to the family castle, with wife and little boy in tow. The old castle isn't exactly empty, for Ygor of broken-neck fame (Lugosi) has made a place for himself there. The son can hardly wait to see his father's old laboratory - and whom should we find in an underground crypt but the monster (Karloff) himself. He's not quite himself these days, but young Frankenstein immediately sets to work reviving the monster in an attempt to vindicate the family name. Unfortunately, Ygor commands the monster to do his own bidding. When a number of individuals are found murdered in the village, suspicion naturally falls on the house of Frankenstein. Enter Inspector Krogh (Atwill) and his ridiculous yet entertaining artificial arm; without this fascinating character, Son of Frankenstein would be a wholly forgettable movie.

With no lines and few chances to express any real emotion other than murderous fury, Karloff's monster is a shadow of its former self. Even the makeup job appears second-rate and less than imposing. Frankly, I'm really unsure what so many others see in this movie. All it did was turn Frankenstein into a big dumb monster that would be forced to stumble and bumble its way through one film after another for decades to come. It's impossible to feel much sympathy for him in this context, and I eventually found myself hoping they would just kill the monster already and get the film over and done with.

Much to my surprise, I actually enjoyed Ghost of Frankenstein much more than Son of Frankenstein. There's no denying that Lon Chaney, Jr., who took up the role of the creature, pales in comparison with Boris Karloff, but I actually found the monster more sympathetic this time around. You won't see the type of pathos and innocence that Karloff brought to the role, yet Chaney subtly shows a human side to the creature on a couple of occasions (and, to be frank, the script didn't allow him much room to maneuver).

This film could easily have been called The Other Son of Frankenstein. Ygor (Bela Lugosi) despite being shot numerous times by Baron Wolf von Frankenstein in the last film, still lives; in the course of fleeing the villager-besieged castle, he finds his good, monstrous friend (whom we last saw sinking into a pit of boiling sulphur) and decides to take him to the other Frankenstein brother. Ludwig (Sir Cedric Hardwicke), is none too happy to see Ygor or to deal with the creature he believed had finally been killed, yet rather than destroy the monster, he decides to give him a new brain. In this way, he believes, he can resurrect his father's shattered reputation and renew the good name of Frankenstein.

I must say I loved Hardwicke's performance. Ludwig is a serious fellow who never slips into the madness that claimed his father and brother; his desires to substantiate his infamous father's work and to restore the family name are the driving forces behind his decision-making. Everything might have turned out all right, too, if it weren't for Ludwig's assistant Dr. Bohmer (Atwill). It is in the pool of Bohmer's bitterness that the ever-resourceful Ygor finds the leverage he needs to pull one over on Dr. Frankenstein. Ygor, you see, wants his own brain transplanted into the creature's body.

In Ghost of Frankenstein, I found Ygor to be a much more engaging fellow. I still don't believe it is one of Lugosi's better characters, but clearly Lugosi contributed a great deal to the overall success of this movie. Is Ghost of Frankenstein as impressive a film as the first two Frankenstein films? Hardly. It is, though - at least in my opinion - a much better film than Son of Frankenstein. Chaney turns in a very solid performance as the creature; while not in the same league as Boris Karloff, he deserves much credit for his contributions to the evolving Frankenstein storyline.

ONLY BORIS
"SON OF FRANKENSTEIN" Last one for Boris Karloff as The Monster and as good as it gets!! Basil is great, the little boy wont annoy you , the scenes are works of art. The story is great..c'mon do you need any coaxing to own "SON OF FRANKENSTEIN"? GET IT!

lugosi's best performance
forget his dracula. his ygor is a wonderfully nuanced performance. this film, above all, proved how wonderful an actor he truly was. too bad he was never again given as rich an opportunity.
as for the rest of the film; atwill gives a delightfully sardonic performance, karloff has a single decent scene, rathbone over acts terribly and we all that want kid to die. oh, and it has great sets.
p.s.
forget the ghost of.
now, if universal would release the greatest karloff-lugosi teaming, the wonderfully perverse ' the black cat' on dvd. i won't hold my breath.

Obsessed!
I have owned these films on video for years and occasionally pop them in the VCR to revisit my childhood. I grew up watching these movies and consider them a staple of my childhood. It is nice to own them on DVD because, as we all know, videos can get worn over the years. The picture clarity on the double-feature DVD is a giant step above the video renditions. A lot of the junk on the screen in the video version of Son is cleaned up, but the picture is darker. Overall, the transitions are very good, with the exception of a slight cut in Son. In the part when Basil Rathbone learns from his young son that he was visited by a "giant," the good doctor runs to his laboratory looking for evidence of the monster or Ygor. He goes to the tomb where his father and grandfather are buried during his search and finds nothing. The slight cut occurs when Rathbone climbs up a ladder from the tomb back into the lab. There's not much missing, we just don't see him crawlng through the floor. In the video version, we do see Rathbone climbing onto the floor. I know this is a minor concern, but it doesn't make sense why this is missing when it exists on the video version. Asfor Ghost, it has never looked better.There's something special about the Universal horror films of the 30s and 40s that I believe will endure throughout the 21st century. Regarding these two gems, Bela Lugosi's role as Ygor is unquestionably his finest performance, even more so than Dracula. He dominates both films. I'm certain that if Universal would have kept his dialogue in Frankensten Meets the Wolfman, his performance would have dominated that film, as well. I plan on getting that film on DVD - which is coupled with House of Frankenstein - but I understand it doesn't contain any new scenes where the monster speaks. For those who don't understand what I'm talking about, at the end of The Ghost of Frankenstein, Ygor's brain is placed inside the skull of the monster, played by Lon Chaney Jr., where it continues to function - dangerously. In fact, the monster speaks with Ygor's voice. In the sequel to that film, Frankenstein Meets the Wolfman, Lugosi plays the monster, but comes off as a moronic goon. The reason for this is because Universal heads found the monster's lines unacceptable and had them removed from the film before it was released. During a sneak preview of the film, it is said audience members laughed so much when the monster began relating his story to Lon Chaney it forced the studio's upper brass to cut the dialogue all together. The deleted dialogue and some scenes were never restored to the film. I wonder if the scenes still exist? If they do, it's curious why Universal has never presented a restored version of the film. I bet it would be spectacular. Universal has restored the original Frankenstein film with some deleted dialogue and the controversial scene where the monster throws the little girl into the lake, so I don't think it's outside the realm of possibilities to restore Lugosi's lost footage to Frankenstein Meets the Wolfman.

Last in classic line of Universal horror hits
Like most sequels Son of Frankenstein stands or falls based on the script and direction. Luckily both are top flight in Rowland Lee's third installment of the Monster's saga. Karloff's last performance as the Monster isn't as powerful as Bride (he's given less to do here). Bela Lugosi manages to chew the scenery as Igor and make up for Karloff's dimished role in the film. Basil Rathbone makes a jittery, nervous Frankenstein carefully carrying on the tradition of actor Colin Clive.

Although the film lacks much of James Whale's wit, the stunning photography, lighting and sets help to offset the general straight forward approach of the film. Although a bit weaker than the previous film (Bride remains the benchmark for all Universal horror films), Son of Frankenstein has its moments and stands as the last strong Universal horror in this series.

Oh, and I love the wool pullover the Monster wears. Didn't catch on as a fashion trend.

Ghost of Frankenstein is little more than a pale imitation of Son. It has its moments. Contrary to the amazon.com review, Lon Chaney,Jnr. gives a good performance for as the Monster; he just isn't given much to do. By this fourth installment the Monster became little more than a prop grafted onto the plot with all the skill of Dr. Frakenstein himself.

The Monster mysterious returns to his old clothes and pre-Bride ways. Lugosi gives another larger than life performance. Lionell Atwill deserves kudos for an interesting performance.

The absurd but fun twist ending made a fitting end to this series. Yes, I know that there were four more films in the series. There shouldn't have been. ... Read more

Amazon.com

There's no Batmobile, and Robert Lowery looks a bit, ahem, well-fed as the Caped Crusader, but Columbia Pictures' 1949 black-and-white serial Batman and Robin is up to its cape and cowl in cliffhangers, crime capers, and good old-fashioned rock-em-sock-em action. Directed at a breakneck pace by serial vet Spencer Gordon Bennett, the Complete 1949 Movie Serial Collection's 15 episodes pits Lowery's Batman and Johnny Duncan as the Boy Wonder against arch-villain The Wizard, who has designs on a remote-control device that doubles as a death ray. Jane Adams's Vicki Vale is on hand to fall into peril at least once per episode, while Ed Wood regular Lyle Talbot looks on sternly as Commissioner Gordon. Viewers weaned on Tim Burton's dark, sleek interpretation of the Batman mythos will undoubtedly groan over the creaky dialogue and performances (creator Bob Kane was no fan, either), but fans with designs on absorbing every bit of Bat-trivia possible will probably get a kick out of this well-intentioned attempt at bringing the Dark Knight's adventures to screen. The episodes are divided onto two DVDs, which offer no extras. --Paul Gaita ... Read more

Reviews (24)

This dvd edition does include more footage
In response to another review below, someone mentioned that he remembered the first episode being about 10 minutes longer than the VHS release.I have seen both the VHS release and the dvd and can verify that, yes, the first episode of the dvd edition is about 9 or 10 minutes longer.The additional footage helps it make a bit more sense, though nothing critical was left out.

The picture quality is good for something this old.It's still pretty hokey, but it's good for what it was.It's fun to see Batman in the 1940's, just 10 years after his creation and to see how the character has evolved over the years.

I wonder why they didn't use the box art from the vhs release?

I too would like to see the 1943 movie serials released on dvd, and the 1960's Batman television show as well.With the new Batman Begins movie about to open in theaters, what better time?

Give me these guys over rubber suits with nipples anyday.
Approach serials with this one thought in mind--when they were made, they were the filler before the main event. As a result, no, they didn't have great budgets or highly talented actors. In addition, comic book characters were not approached with the same sense of reverence they are now (perhaps a little TOO much reverence sometimes). There is no batmobile, no Joker or Penguin. Still, this is a fairly typical, and entertaining serial from the 1940's that's a lot more family friendly than some of the other superhero fare being marketed these days. Worth a look, and since it probably won't be around for long, you might want to snatch it up while you can. The sound and picture quality are quite good.

i want my 60s batman please
Mainly just wanted to say that obvious effort was put into the digital transfer.Not Casablanca level but verycrisp.Nice to see where my favorite Batman serial[ 1960s]got some ideas.I Hope that it comes out in this lifetime to.Adam West Rules!

BETTER THAN ANY OF THE BATFILMS FROM KEATON TO CLOONEY
Okay, okay! I know the budget was almost non existant. But I'm referring to the fun, excitement, and adventure! Something modern day film makers have either forgotten or would prefer the special effects tell the story instead. All the shortcomings mentioned in other reviews are true. However the shortcomings are as human as the people involved. You'll recognize OLD CAP from the Little Rascals "When I get my back pension these kids will never have to eat mush again" playing suspect Prof. Hammil. This can be watched almost anytime but my favorite time is on a rainy Sunday afternoon. Robert Lowrey's contrasting portrayal of Bruce Wayne and Batman is still the best on screen performance I've ever seen. Like other reviewers I too hope that the 1943 [The Batman] will be released on DVD (unedited of coarse). I hope our Japanese friends will be forgiving and understand that was only the sentiment of the time. And that we harbor no ill feelings. We only wish that a piece of film history would be maintained. BUT SOMETHING TELLS ME, THEY WON'T RELEASE THAT ONE UNLESS ENOUGH PEOPLE BUY THIS ONE. So if your really into Batman and all his incarnations, buy this. I promise youll enjoy it immensly. It is far more entertaining than the 1997 Clooney, O'Donnell version of the same name.

Priceless inanity -at least as good as anything from Ed Wood
I'll admit I'm not familiar with the 1943 serial. The serials I *am* familiar with (including the creaky Poverty Row Lugosi ones) are really MUCH worse than this, at least for pure **entertainment** value. But perhaps my "entertainment scale" is different - I can't recall such a high knee-slapper/howler ratio in anything other than an Ed Wood movie. The dialogue isn't just stilted - it's moronic on every conceivable level! (After Batman gets the stuffing beat out of him and is picking himself up off the edirt, Robin helpfully points out that the crooks "are getting away in their car". Gee - THAT'S why they call him the "Boy Wonder" (though he looks closer to 30 than 20). Frequently, the actors look as though they are improvising or just saying whatever comes into their head. And although the action is downright FRANTIC (numerous fistfights, burning buildings, spectacular car-off-the-cliff crashes, gunfights, airplanes exploding, etc.), the actual plot never moves forward. Things I learned: radioactive money bursts into flames when removed from it's envelope. Getting a daily beating doesn't affect your handsome good looks. Changing into a bat costume in the back of a convertible doesn't attract any attention. "Remote control" machines run on diamonds. The "Bat Signal" works at high noon. Gotham City doesn't have any buildings - it's out in the middle of the California desert somewhere. Batman's "utility belt" can hold a full-sized acetylene torch, including the tank, without showing. "Wayne Manor" is right next door to the Cleaver's house. The "Bat Cave" is underneath that, but is about the right size for a basement. (And it includes the shadows of rubber bats flitting around, too.) I could go on, but I hope that you get the idea. I was a little worried that I'd be sitting through some "Commando Cody"-style drek, but please, take my word for it - this is some of the best, most riffable material I have EVER seen. My absolute highest recommendation. (If you like that sort of thing, that is!!!) ... Read more

Reviews (1)

Westward Ho (2 1/2 Stars)
The older surviving brother of a wagon train ambush, seeks revenge on the leader of the gang responsible for the murder of his parents and the kidnapping of his younger brother. Years later, he is the leader of a group of 'vigilantes' who oppose lawlessness and unknowingly confronts his 'long-loss-brother' who has since learned the tricks-of-the-trade from the outlaws. ... Read more

Reviews (2)

A sub-par B Western from John Wayne's Lone Star period
"Rainbow Valley" was the 13th of the B Westerns that young John Wayne did for Lone Star, which was part of the poverty row Monogram studio. This 1935 film was directed by Robert N. Bradbury, who did most of Wayne's Lone Star efforts and has a rather interesting premise for a western. Rainbow Valley needs a new railroad built through the gold country and Wayne plays undercover agent John Martin, who shows up to protect the workers. Meanwhile, local big shot Mr. Rogers (LeRoy Mason) brings in a hired gun, Butch Galt (Jay Wilsey, aka Buffalo Bill, Jr.), who has crossed paths with Martin before. It turns out they shared a prison cell together, so Galt thinks he can get Martin to help destroy the railroad with dynamite.

George Hayes, who did not quite have his "Gabby" persona developed at this point, gets second billing playing one of the locals while Lucile Browne is Eleanor, the minor love interest for Martin in this oater. Who is missing from this Lone Star film is the legendary stuntman Yakima Canutt, which would explain why the stunt work is not as exciting as it usually is in these films. Canutt is usually the attraction here and not Wayne, who is obviously the selling point for putting out these video copies of less than stellar prints. By now in the series the idea that Wayne is working undercover and that the bad guys think he is an outlaw too is getting really old. Only a true fan of the Duke is going to watch all of these, but most movie fans can stand to check out a couple to see what Wayne was like when he was learning his craft.

Another sub-par Lone Star Western with young John Wayne
"Rainbow Valley" was the 13th of the B Westerns that young John Wayne did for Lone Star, which was part of the poverty row Monogram studio. This 1935 film was directed by Robert N. Bradbury, who did most of Wayne's Lone Star efforts and has a rather interesting premise for a western. Rainbow Valley needs a new railroad built through the gold country and Wayne plays undercover agent John Martin, who shows up to protect the workers. Meanwhile, local big shot Mr. Rogers (LeRoy Mason) brings in a hired gun, Butch Galt (Jay Wilsey, aka Buffalo Bill, Jr.), who has crossed paths with Martin before. It turns out they shared a prison cell together, so Galt thinks he can get Martin to help destroy the railroad with dynamite.

George Hayes, who did not quite have his "Gabby" persona developed at this point, gets second billing playing one of the locals while Lucile Browne is Eleanor, the minor love interest for Martin in this oater. Who is missing from this Lone Star film is the legendary stuntman Yakima Canutt, which would explain why the stunt work is not as exciting as it usually is in these films. Canutt is usually the attraction here and not Wayne, who is obviously the selling point for putting out these video copies of less than stellar prints. By now in the series the idea that Wayne is working undercover and that the bad guys think he is an outlaw too is getting really old. Only a true fan of the Duke is going to watch all of these, but most movie fans can stand to check out a couple to see what Wayne was like when he was learning his craft. ... Read more

Description

Jeff Morrow stars in this 1950s science fiction classic about the exploits of a team of scientists who are abducted from Earth to help defend a far off planet from a malevolent alien race. Now, light years from home, they will face strange creatures, meteor storms and other hazards in their attempt to get back to Earth. ... Read more

Reviews (59)

A 50's Magazine Cover Brought To Life!
THIS ISLAND EARTH is a 1950s science-fiction pulp magazine cover brought to life: clunky spacecraft, battling planets, evil aliens, and screaming heroines in distress. The special effects are 1955 state-of-the-art, and they still hold up very well today, for unlike ultra-realistic computer generated graphics they have a fantasy feel that is very, very entertaining--a sort of "Wizard of Oz goes sci-fi" look that is very appealing to the eye.

As already noted, the story concerns several of earth's best minds who are kidnapped by aliens and ordered to create an endless source of energy for a dying planet. The script is laced with 1950s sexism--one line, for example, is "Don't tell me that as woman you're not curious?"--but this is actually less offensive than it is rather amusing, in keeping with the magazine cover sensibility that pervades the piece. The cast plays with great sincerity: Rex Reason is appropriately heroic, Faith Domergue screams the house down, and the aliens all have high foreheads--excepting, of course, that really evil looking one with claws for hands!

Some humorless-type science-fiction fans won't enjoy it, and if you're not the type to get a kick from period visuals you might want to give this one miss. But for pure 1950s matinee fun, you can't do better than THIS ISLAND EARTH.

Outdated, but excellent for its time!
This film starts out very poorly, (I didn't know nuclear scientists were that young...). Anyway, it transforms into a movie with an interesting plot, but really bad carry-through, acting, and script, but what do you expect from a sci-fi flick from 1955? However, the visuals (striking for it's time although laughable by today's standards) are what really save the movie.

The downside to the film is the fact that it's just old. The visuals, lines (such as: "We come from Metalunia." -Exeter. In response Rex quips: "That's not in our solar system." How would he know? The names would certainly not be the same...) and the overall feel to the film make me want to bust up laughing (which I'll admit I do everytime I see it, especially after I saw MST3K: The Movie). But really though, this film is just a great old Saturday sci-fi flick that you must remember was an excellent breakthrough in 1955!

A Classic Of Early Science Fiction
It has taken me a few decades but I have finally seen the film This Island Earth (I had to buy it first). I must say that I was not disappointed by this well-crafted tale.

A physicist working on new power from uranium and the transmutation of elements to create more uranium, gets involved in a project of a far grander scale. Replacement parts are ordered for the lab but the parts that arrive seem far superior to anything that should be available. Then a catalogue of other equipment arrives and soon the lab is set on building a strange device.

The device is a communications console which puts the scientist in contact with a white-haired man seeking out talented scientists to tackle the issue of world-wide peace. The scientist joins a small think-tank of top researchers who are working on increasing the energy available from nuclear reactions. But it soon becomes apparent that all is not what it seems. The head of the project, and his assistant, are actually aliens. They are hoping that the human scientists can come up with a way to save their home planet.

The story then escalates to include the alien world and their plight at the hands of a second, and vicious, race of aliens. We learn of motives, deceits, and how far the peaceful will go to save their own home. Distrust and compassion struggle against one another until the film's conclusion.

This is not a typical B-movie of alien invasion. Unlike most of that type this film was not a quick project. Two and a half years were spent in the making so that the film is pretty well consistent within itself. The pacing of the plot's revelations is well handled and almost resembles a classic tale of A.E. van Vogt. This is definitely a film for fans of the great black and white science fiction films.

"The two of you are about to take incredible journey"
I'm so glad I picked this dvd up when it was a reasonable price tag
I don't know how "Goodtimes" gets the rights to release "Universal"
prints but I'll take what I can get.

If you had to timecapsule any techincolor sci-fi film from the 50's
it would be a toss up between this and "Forbidden planet". Would we
go to see this at a big screen film revival...sure we would,classic
sci-fi never gets old (just recycled)

The story is that of "Carl"/Atomic researcher/(jetpilot?)
and his assistant who come across a weird energy in the form of a
condenser that's more stronger than anything they've seen from a
company they cant contact except thru mailorder. Curiously enough
they order an 'interosetor" a device in which few men are capable
to construct. These are the words spoken to them after they plug
in the contraption to reveal on its screen the highbrowed'xceter'
The strange man offers an invitation to learn more at his mystery

location and the Scientist Carl (minus assistant) accepts.

Upon arriving at the Xcetor's grounds via remote controlled plane
He is promply meet by an old fellow grad student "Ruth" who oddly
enough doesn't remember him even though he remembers a passionate
"swim" some years back. The Scientist is introduced to the staff including one other scientist who is wary of the whole set-up.

After meeting Xceter & Brac(his right hand man) who explains that
that his plans are just to research new applications for newtreno
rays a beam that can pass thru mountains of solid rock, The three
scientist become become nervous and plan an escape,discovered the
three try to drive to safety but are almost force off the road by
the destuctive newtreno ray developed earlier. Carl & Ruth escape
just in time to see the car and thier fellow friend destroyed and the unbelievible vision of a flying saucer rising in the distance

Taking control of one of the small passenger planes the scientist
look in awe as the saucer destroyed the mansion and staff inside
The saucer then catches up to them as they are beamed up into the
craft's belly. They agian meet xcetor who in a vain attempt tries
to explain his "actions" and tells them that they are being taken
to his world of Metaluna.

And so sets the groundwork for what was probably the biggest film
event of 1955 "2-1/2 years in the making!" the ads would boast on
what is to this day still a joy to watch.With a casting call that
includes Rex(Rhodes)Reason,Jeff Morrow,Faith Domergue,Lance Fuler
and Richard Johnson. This film is must to have in any true sci-fi
collection My 4 star was decided by lack of a trailer (but at the
cover is the original poster art) the overall quality & sound are
great but I wish Criterion would get a hold of this gem.

"They're pulling us up!"
About a year ago when suddenly there were no copies of this available through the retail market, I took notice of the incredibly high asking prices that some individual online sellers wanted. I knew there was no way I would spend big bucks for something that was originally worth a lot less. Then I happened to find a brand new copy of the DVD in a local record store. I bought it cheap, never opened it and sold it on the Internet for a huge profit. I believed a lot of the reviewers on Amazon that the DVD transfer of"This Island Earth" was nothing to write home about so had no problem with making a little money on it. The problem is, where is a re-release of this film from Universal? What's taking them so long? Are they planning to wait until the film is destroyed? This is an important science fiction classic that needs and deserves to be preserved and presented on DVD. "This Island Earth" is arguably the most imaginative science fiction film of the 1950s and it seems Universal is brushing it aside. C'mon, get with the program, Universal. You got this film and a whole bunch more from the fifties like "Tarantula," "Monster on the Campus," and "The Mole People" that a lot of fans would like to see offered on DVD. Let's get rolling on this stuff. ... Read more

Reviews (3)

Where Are My Family Jewels??
The search for the crown jewels of the czar continues! Meanwhile, the true identity of the Whispering Shadow grows foggier by the minute! Just who IS he?? Is it Professor Strang (Bela)? The odd Mr. Steinbeck? Someone else? There are many suspects in this last half of the story and those wacky jewels just keep hopping along, winding up with almost everyone at least once! Can Foster and inspector Raymond solve the mysteries before it's too late? Watch and see...

The sinister Professor Strang--Bela Lugosi no less
Actually the good (or is he good?) professor is the focal point of this serial. Basic plot line has the young hero tracking down his brother's murderer who is known as the whispering shadow; and it sure as heck looks like Professor Strang is one and the same. One little difficulty, our hero falls in love with the professor's daughter while he's trying to prove that her dad is a criminal mastermind. I don't think I'm spoiling the plot for anybody if I suggest that maybe Bela isn't the bad guy after all, although he does a darn good job of trying to convince us he is!

The other review here complains about the long flashbacks. Don't forget, this is a 13 chapter serial which was originally shown one chapter a week over a three month period, so the flashbacks are obviously necessary. And no, they should not be edited out for today's audiences...we serial fans want them exactly as they were.

btw, I do suggest viewing this serial a chapter a day, or at least no more than three chapters a day. That way, you will get more out of it with less feeling of repetition.

Weak Plot, Weak Acting
A rather weak 12-episode serial (228 minutes) starring Bela Lugosi. Lugosi plays Professor Strang, the strange owner of a wax museum, who is accused of being the "Whispering Shadow" that has been terrorizing the drivers of a storage warehouse in search of some priceless jewels. Aside from a few of the veteran actors (Lugosi, Henry B. Walthall of Birth of a Nation fame, and Karl Dane, who was excellent in silent films like The Big Parade), the acting in this serial is pretty bad (comical at times). The epsiodes do not flow together very well (a lot of long flashbacks are used which was probably very appropriate when it was first released, but are quite redundant in video form). The numerous silent fist fighting scenes are odd (where did the sound go?) and tiring. Karl Dane is genuninely comical in his role as the dopey radio dispatcher. Unfortunately, Shadow would prove to be his last acting credit as he would commit suicide the next year (his thick Danish accent getting in the way of employment in the Talkies era). It's interesting to watch those old vehicles in the car chasing scenes. I am the worst at whodunnits, but I was able to guess the Shadow's identity by the second episode. ... Read more

Reviews (1)

Classic B-Westerns!!!
These two films, "Texas Terror," and ""The Trail Beyond" are two great B-westerns starring a young John Wayne. I really enjoy these films. Sure they are not the best written or acted films in the world, but they are entertaining to a very high degree. Everyone should see how John Wayne started out in pictures and compare that to how he finished his career. This serves as inspiration to everyone that human beings can improve themselves to an immeasurable degree. ... Read more

Reviews (2)

A sub-par B Western from John Wayne's Lone Star period
"Rainbow Valley" was the 13th of the B Westerns that young John Wayne did for Lone Star, which was part of the poverty row Monogram studio. This 1935 film was directed by Robert N. Bradbury, who did most of Wayne's Lone Star efforts and has a rather interesting premise for a western. Rainbow Valley needs a new railroad built through the gold country and Wayne plays undercover agent John Martin, who shows up to protect the workers. Meanwhile, local big shot Mr. Rogers (LeRoy Mason) brings in a hired gun, Butch Galt (Jay Wilsey, aka Buffalo Bill, Jr.), who has crossed paths with Martin before. It turns out they shared a prison cell together, so Galt thinks he can get Martin to help destroy the railroad with dynamite.

George Hayes, who did not quite have his "Gabby" persona developed at this point, gets second billing playing one of the locals while Lucile Browne is Eleanor, the minor love interest for Martin in this oater. Who is missing from this Lone Star film is the legendary stuntman Yakima Canutt, which would explain why the stunt work is not as exciting as it usually is in these films. Canutt is usually the attraction here and not Wayne, who is obviously the selling point for putting out these video copies of less than stellar prints. By now in the series the idea that Wayne is working undercover and that the bad guys think he is an outlaw too is getting really old. Only a true fan of the Duke is going to watch all of these, but most movie fans can stand to check out a couple to see what Wayne was like when he was learning his craft.

Another sub-par Lone Star Western with young John Wayne
"Rainbow Valley" was the 13th of the B Westerns that young John Wayne did for Lone Star, which was part of the poverty row Monogram studio. This 1935 film was directed by Robert N. Bradbury, who did most of Wayne's Lone Star efforts and has a rather interesting premise for a western. Rainbow Valley needs a new railroad built through the gold country and Wayne plays undercover agent John Martin, who shows up to protect the workers. Meanwhile, local big shot Mr. Rogers (LeRoy Mason) brings in a hired gun, Butch Galt (Jay Wilsey, aka Buffalo Bill, Jr.), who has crossed paths with Martin before. It turns out they shared a prison cell together, so Galt thinks he can get Martin to help destroy the railroad with dynamite.

George Hayes, who did not quite have his "Gabby" persona developed at this point, gets second billing playing one of the locals while Lucile Browne is Eleanor, the minor love interest for Martin in this oater. Who is missing from this Lone Star film is the legendary stuntman Yakima Canutt, which would explain why the stunt work is not as exciting as it usually is in these films. Canutt is usually the attraction here and not Wayne, who is obviously the selling point for putting out these video copies of less than stellar prints. By now in the series the idea that Wayne is working undercover and that the bad guys think he is an outlaw too is getting really old. Only a true fan of the Duke is going to watch all of these, but most movie fans can stand to check out a couple to see what Wayne was like when he was learning his craft. ... Read more

Reviews (1)

A pair of sub-part B Westerns from a young John Wayne
What we have here are a pair of sub-par B Westerns done by a young John Wayne for Lone Star/Monogram Studio in the period before he upgraded to Republic Pictures. "The Lawless Frontier" is the tenth of these early oaters. Robert N. Bradbury did the story, screenplay, and direction for this 1934 film, which is actually a bit more complicated that most of these oaters. Wayne plays John Tobin, whose parents are killed by the bandit Pandro Zanti (Earl Dwire with a woeful Mexican accent). Eight years later Tobin returns and when Zanti hurts Dusty (George Hayes), Tobin decides it is time to bring down the gang. But things get complicated because the sheriff (Jack Rockwell) thinks Tobin is part of the gang and when Dusty gets shot, he arrests Tobin. Of course there is also a purty young gal, Ruby (Sheila Terry).

There is not much there to really enjoy from the actor who would eventually become known as the Duke. For example, in "The Lawless Frontier" you can see him doing an early version of his trademark gait. But the main attraction here, more often than not, is the work of the legendary stuntman Yakima Canutt. He plays Joe, one of Zanti's henchmen, and doubles for Wayne in a pretty good stunt involving riding a log through an arroyo. The actor billed as Buffalo Bill, Jr. playing another of Zanti's henchmen is really an actor/stuntman named Jay Wilsey, who was no relation to the famous cowboy showman and who stared in a series of B- Westerns during the silent era (e.g, "Rawhide Romance").

Also from 1934, "Randy Rides Alone" is directed by Harry L. Fraser from a story and screenplay by Lindsley Parsons, this seventh Wayne film in this series has a similar story to the second, 1933's "Sagebrush Trail." Once again our hero, this time named Randy Bowers ("He rode the Danger Trail!"), is in jail for a murder that he did not commit. However, Randy gets sprung by his gal, Sally Rogers (Alberta Vaughn) and as is usually the case ends up undercover with the real outlaws in an effort to bring the gang and its leader, Marvin Black (George Hayes) to justice.

Actually, Black is the more interesting character because he pretends to be the mute Marvin Matthews, the owner of the local General Store. Of course, seeing Gabby Hayes without his beard (and technically before he had really evolved his sidekick character made infamous by the Hopalong Cassidy westerns), takes a bit of getting used to. The charade allows him to keep tabs on what the sheriff (Earl Dwire) is up to and plan accordingly. The set up is fairly standard and so is the way the action plays out in the end. Legendary stunt man Yakima Canutt is Spike, and he doubles for pretty much anybody doing anything worthy watching in terms of the stunts.

As always, avoid the colorized version of this Lone Star Western. These are low budget westerns by a Poverty Row studio. They are what they are, more curiosities than anything memorable, so dressing them up is not worth the effort. They provide a look at Wayne learning his craft but you can certainly find better examples than this pair. ... Read more