The Last Man on Earth (1964)

Through the years, I have not reviewed very many horror films at this blog, and some of those I have written about, quite frankly, are not all that horrible. This week, however, I present one of the real classics in the genre, The Last Man on Earth with horror master Vincent Price in the title role.

Vincent Price in The Last Man on Earth (1964)

Vincent Price plays the last surviving human in a city full of living dead vampires. He seems to be immune to the virus that has infected all humanity, and in wont of better things to do, he spends his days trying to kill as many vampires as he can. He uses all the classical anti-vampire tricks in the book: garlic, wooden stakes, crucifixes, even mirrors. The works. And he succeeds because the vampires are more or less without mind. They move and they try to kill, but they are very slow and they have no conscious plan.

Technically speaking, The Last Man on Earth is a vampire film, but thematically it is rather more of a forerunner to the modern zombie film. The disease that infects nearly all human beings and makes them into mindless slayers is a typical zombie cliché. The modern vampire film, on the other hand, often has the vampires living as intelligent beings in secret communities among normal humans.

There are moments when you can see that this is a pretty cheap production. For example, in the beginning of the film, we see a series of shots of empty buildings, empty roads, empty parking lots, and so on. There are no signs of life. But, wait … There, at 00:43, on the right in the picture, is a small boy standing on a balcony. He was clearly not meant to be there.

Cheap or not, the film is really beautiful. Many scenes are really well composed, and Vincent Price was a brilliant actor. The film was made in Italy, and like most Italian 1960s productions, it was dubbed in post-production. I am guessing that Price made his own voice, but synch is not always perfect. That, I think, is the most blatant flaw in an otherwise very good movie.

Quite often, when a film at the Internet Archive is labeled “HD”, it turns out not to be true High Definition at all. Either, resolution is much lower than advertised, or it is “fake” HD, converted from a lower definition. But The Last Man on Earth, at least the version I link to, is true HD to every last pixel. This is an excellent version, and even if you are stuck with pretty lousy bandwidth, it is worth waiting for the 3.6 gigs to download.

This film is best enjoyed when you need a bit of cynism in your life. Like many of the best vampire films, The Last Man on Earth is dark, gritty and distressing. There is very little hope for humanity to be found here.

Vincent Price in The Last Man on Earth (1964)

The Last Man on Earth
Download link
Year: 1964
Running time: 1 h 27 min
Directors: Ubaldo Ragona, Sidney Salkow
Stars: Vincent Price
Image quality: Excellent
Resolution: High (1696×738)
Sound quality: Excellent
Best file format: MPEG4 (3.6 G)

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Les Vampires (1915–16)

I have previously written about a number of serials. Looking at those earlier reviews, one might easily get the impression that serials were mostly a sound film phenomenon. Ah, but nothing could be further from the truth.

It has proven difficult to find reliable facts about silent serials, but the first ones seem to have appeared as early as the first decade of the 20th Century. By 1915, production was in full swing, on both sides of the Atlantic, and before the era came to an end around 1930, hundreds of silent serials had been made. I am guessing that many are incomplete or lost today, but many others survive, and the best are quite up to the standards of the so-called “Golden Age” serials of the 1930s and 1940s. They were not yet as clichéd and predictable as the later serials usually were, and quite often they created the elements that were later to become cliché.

Édouard Mathé in Les Vampires (1915)

The French serial Les Vampires (episodes 1, 2, 3, 4, 5, 6, 7, 8, 9, 10) is often considered to be among the best of those early ones, and indeed some claim that it is one of the best serials of all time. It tells the story of how newspaper reporter Philippe Guérande tries to thwart a group of criminals who terrorize Paris. In spite of the title, Les Vampires has nothing to do with any vampires. It was simply the name that this gang of criminals used for themselves.

The plot, meandering in various directions, is a bit too complex to summarize here, but it is impossible to review this serial and not mention the character Irma Vep (note the anagram), who makes her first appearance in Episode 3. Vep is a close associate to the leader of The Vampires. She is totally unscrupulous and a master of disguise, and for the rest of the serial, she remains the main antagonist. Irma Vep has certainly been one of the strongest cultural footprints of Les Vampires. She remains a popular character and icon among silent movie fans.

According to Wikipedia, Les Vampires was made “quickly and inexpensively with very little written script.” Well, that shows, and the plot seems pretty random and incoherent at times. I know that some people have a problem with that, but I do not find that it detracts from my enjoyment. There is so much to like about this serial that some small rough spots are easily overlooked. Besides, modern Hollywood scripts are not always too coherent either.

This serial is best enjoyed because of the huge influence it has had on later crime cinema. Among the film makers said to be strongly inspired by it are such giants as Fritz Lang and Alfred Hitchcock. There are good reasons why this particular serial became so influential. Watch it and find out for yourself!

A Vampire thief in Les Vampires (1915)

Les Vampires
Download links: 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10
Year: 1915–16
Running time: 6 h 40 min
Language: English
Director: Louis Feuillade
Stars: Édouard Mathé, Musidora
Image quality: Acceptable
Resolution: Low (352×288)
Sound quality: Good
Best file format: Cinepack

The Ace of Hearts (1921)

Eight men, one woman. They have formed a secret society, the aim of which is to better mankind by murdering those who deserve to die. They have gathered on this day to decide if a certain person will die, and if so, who is to perform the deed. Such is the beginning of The Ace of Hearts. The title indicates the fateful card that is used to randomly choose the murderer.

The Ace of Hearts (1921)

But love is about to complicate our plot. Two members are rivals for the love of the only woman, Lilith, but she loves neither back. She only has feelings for the Cause. Ah, but what will happen when one of the two is chosen to commit a murder for that Cause? Can she separate her feelings for the man and the ideal? This plot may seem a bit corny, but works really well togehter with the excellent actors and the nice photography.

Around this time, film cameras slowly started to move around; to pan, to track, to zoom. The camera in The Ace of Hearts, however, is always completely static. But that is not entirely a problem, because when the limits of the set are known, the director and cameraman can use the set as if it was a painting, carefully composing each detail to balance the whole picture. Akira Kurosawa was to use similar techniques a lot in many of his best films, decades later, and Wallace Worsley does it here, almost to perfection. Watch, for example, The Man Who Deserves to Die striding slowly from the restaurant entrance to the dining hall’s vault. Splendid!

If you are a fan of Lon Chaney, The Man of a Thousand Faces, then this may or may not be a film to your taste. This is the only film I have seen where Chaney does not in any way use heavy makeup or prosthetics for enhancing his role and performance. Chaney is good enough an actor that he is excellent even without this, but if your fancy are his many amazing horror masks, then this film may disappoint you.

Like any silent film, I am sure this one would have been even better with a good soundtrack. However, thanks to the film’s poetic imaging and slow but deliberate tempo, I did not find the lack of sound disturbing. The mere visuals keep tension up by themselves. If silence makes you nervous, a version with an acceptable organ score is also available, but unfortunately it has lower image quality.

This film is best enjoyed as a conceptual sequel to The Penalty from the year before. The Ace of Hearts had the same director, the same star (Chaney), and was based on a novel by the same author, Gouverneur Morris. And even though the films are set in very different surroundings, they share the delving into the darker recesses of the human psyche.

Lon Chaney, Leatrice Joy and John Bowers in The Ace of Hearts (1921)

The Ace of Hearts
Download link
Year: 1921
Running time: 1 h 14 min
Director: Wallace Worsley
Stars: Lon Chaney
Image quality: Good
Resolution: Medium (640×482)
Soundtrack: None
Best file format: MPEG4 (889 M)

Love Affair (1939)

I sit here on Christmas Eve, surrounded by family, waiting for Christmas dinner to be prepared and for presents to arrive (where I live, Christmas Eve is more important to celebrate than Christmas Day). Every year, I try to include at least one Christmas themed movie around this time. This year, I have chosen the classic Love Affair.

Charles Boyer and Irene Dunne in Love Affair (1939)

True, the entire film is not about Christmas. It is only in the last twenty minutes that the Christmas theme comes in, but it is fitting enough at that point, because that is where the film turns into a real feel-good melodrama. I will not reveal too much of the plot, except to say that it involves true love at first sight, forced separations, great personal sacrifice, and I do not think I spoil too much by revealing that there will be a happy ending, although one not entirely without complications.

Like many other popular old movies, this one was adapted into a radio play, and Irene Dunne even reprised her role from the film. I have not listened to this particular adaptation, but those old radio plays are often very good. If you are interested, Love Affair and many others are available as part of the Screen Guild Theater series.

This film is best enjoyed because the chemistry between Charles Boyer and Irene Dunne is excellent. The plot have a few weak moments if you start analysing it too closely, but Boyer and Dunne nevertheless manage to make the story believable.

Charles Boyer, Maria Ouspenskaya and Irene Dunne in Love Affair (1939)

Love Affair
Download link
Year: 1939
Running time: 1 h 33 min
Director: Leo McCarey
Stars: Charles Boyer, Irene Dunne
Image quality: Acceptable
Resolution: Medium (720×576; including black border)
Sound quality: Acceptable
Best file format: DivX (700 M)

Goliath and the Vampires (1961)

The Internet Archive is truly a place for discovery and learning. Like when I wrote about Cabiria last week, and discovered not only that the Italian hero Maciste originated in that film, but also that he was the star of over 50 more films, half in the silent period, the other half during just a few years in the early 1960s. A handful of those 1960s films can be found at the Internet Archive, including what is said to be one of the best Maciste films, Maciste contro il vampiro. As was so often the case with the Maciste films, the hero was renamed for the US version, which is titled Goliath and the Vampires. Utterly illogical, since a generous count reveals but a single vampire in the entire film.

Gordon Scott in Goliath and the Vampires / Maciste contro il vampiro (1961)

Even though I can find no information that a longer version of the film exists, there are several illogical jumps in the plot. I conclude that the film was probably very badly cut, and perhaps not all that well written in the first place. But that matters little, for the plot is no reason to watch this film. It is pretty standard genre fare, even in its best moments. Maciste/Goliath, after having saved a boy’s life, returns to his home village, only to find it burned and the people massacred. Maciste swears revenge, and he also wants to rescue his fiancée who was kidnapped along with some other women.

Italian films from this period are always dubbed. The heroes, and sometimes other important characters, were played by American B actors, whereas most supporting roles were played by Italians. Therefore, you can see that the lip synch of Gordon Scott is actually pretty good (I have no idea if that is his own voice or someone else’s), whereas most other actors, although acceptable, are much more obviously dubbed. In an Italian version of the film, it would have been the other way around, of course.

It must be admitted that Gordon Scott is splendid in the role of Maciste/Goliath. Even though he may not have been a great character actor, he had a decided knack for striking heroic poses, he knew how to deliver his lines fluently and he had a spectacular body. It is no wonder he had been cast as the eleventh Tarzan a few years earlier. In fact, Goliath and the Vampires was his first role after the Tarzan films.

This film is best enjoyed as a representative of a time and place. Italy in the 1960s was the source of a tremendous amount of films trying to mimic various Hollywood genres. Even though they did not quite succeed, they did manage to produce something very unique and interesting. The sword-and-sandal films, as the spaghetti westerns that were to come later, is one example of this.

Leonora Ruffo, Gordon Scott and Jacques Sernas in Goliath and the Vampires / Maciste contro il vampiro (1961)

Goliath and the Vampires
Download link
Year: 1961
Running time: 1 h 32 min
Directors: Sergio Corbucci, Giacomo Gentilomo
Stars: Gordon Scott
Image quality: Poor
Resolution: Medium (640×386)
Sound quality: Acceptable
Best file format: MPEG4 (554 M)

Cabiria (1914)

In the 1910s, for the most part, film as a storytelling medium was not yet very mature. Most films were static in their camerawork, and the scripts were often clumsy. Some slapstick comedy from that time can still be amusing (in moderate doses), but the dramas and “action” films of the day are mostly pretty tiresome affairs.

But there are exceptions. Cabiria, even though it is the victim of many problems of its time, is one. This Italian film was one of the first great epic dramas, with spectacular sets, masses of extras and a bombastic storyline filled with hyperbole and melodrama.

The statue of Moloch in Cabiria (1914)

The film is about the girl Cabiria, who is robbed from her home during a volcanic eruption in ancient Roman times, taken as a slave to various places around the ancient world, and finally wins her freedom when she has become a grown woman. But in reality, various sub-plots are much more interesting, such as the story of Fulvio Axilla and his slave Maciste. Truth be told, the film is pretty confusing with all its characters and sub-plots, and sometimes too much, sometimes too little, information conveyed in the title cards.

The poor girl Cabiria is barely even treated as a personality. In the first half of the film, she is dragged and carried around as if she was a thing. In the second half, we get to see a bit more of her as she has grown up, but even then she does not do much to give a lasting impression.

Another character in this film is much more interesting, both due to the actor Bartolomeo Pagano and his portrayal of the character in the film, and due to the character’s later on-screen career. The character is called Maciste, and prior to watching this film, I had noticed that name, as it often appeared in Italian sword-and-sandal films from the early 1960s. But the English-language dubs of those films often used other names, such as Atlas in the Land of the Cyclops (Maciste nella terra dei ciclopi) or Colossus and the Headhunters (Maciste contro i cacciatori di teste). I wondered about this sometimes: Who was this mysterious Maciste, who never got to keep his name in translation? Well, it turns out that Cabiria was his first appearance, and that he was later to star in 26(!) further silents (all with Pagano in the title role) and another 25 films in a revival in the early 1960s.

I have not been able to find any other silents with Maciste at the Internet Archive, but there are several interesting 1960s Macistes. Perhaps I will review one of them in the future.

The version of Cabiria I link to is the one at the Internet Archive with the best image quality, but unfortunately it has no soundtrack. If you feel that your life is incomplete without sound, then you can choose between a version with an electronic score and one with piano music. I personally prefer the latter in this case.

This film is best enjoyed if you are interested in cinematic history. For its time, the film is an epic masterpiece, but I have to be frank and admit that it has aged quite considerably during the more than hundred years that have passed since it premiered. Do watch it, and enjoy what is to be enjoyed, but do not expect too much. It is still a great piece considering its age.

Umberto Mozzato, Gina Marangoni and Bartolomeo Pagano (as Maciste) in Cabiria (1914)

Cabiria
Download link
Year: 1914
Language: English
Running time: 2 h 3 min
Director: Giovanni Pastrone
Stars: Umberto Mozzato, Bartolomeo Pagano
Image quality: Acceptable
Resolution: Medium (512×384)
Soundtrack: None
Best file format: Cinepack (1.2 G)

St Martin’s Lane (1938)

I wonder if I would have ever discovered Charles Laughton if it had not been for the Internet Archive (search this blog for “Laughton” and you will find a number of his many great performances). Sure, I would have seen a couple of his classics, such as The Hunchback of Notre Dame (1939), and then I would have dismissed him as typecast. Typecast? Ha! Nothing could be more wrong.

Vivien Leigh and Charles Laughton in St Martin's Lane / Sidewalks of London (1938)

St Martin’s Lane, also known as Sidewalks of London, is yet another example of Laughton’s versatility. Here he plays Charles, a “busker”, essentially a sort of street musician, making his living by playing for the people standing in line for the theatres along St Martin’s Lane in London. He discovers the young and talented Libby (Vivien Leigh) and not only makes her part of his act, but also gives her a place to stay.

Libby pays him back by saying good-bye at first opportunity for a break on the big stages, and as she goes on to ever greater fame, Charles sinks lower and lower into mediocrity and alcoholism.

Laughton and Leigh, and also Rex Harrison as Libby’s playboy sponsor, all make excellent performances, even though it is rumoured that Laughton and Leigh got on each others’ nerves during production.

This film is best enjoyed for the high-quality drama and acting. The story is good and captivating, but the ending is perhaps a little bit dissatisfying. Ah, well. This piece is still well worth watching.

Vivien Leigh in St Martin's Lane / Sidewalks of London (1938)

St Martin’s Lane
Download link
Year: 1938
Running time: 1 h 26 min
Director: Tim Whelan
Stars: Charles Laughton
Image quality: Good
Resolution: Medium (640×482)
Sound quality: Good
Best file format: MPEG4 (814 M)