Fantastic Friday: Betrayal

Re-reading the Fantastic Four comics from the start. Issue #41 starts right where the last one left off, with the Thing declaring that he’s leaving the team. This is hardly the first time one of the group has been at odds with the others. Remember, Johnny temporarily quit the team way back in issue #3. But this issue promises BETRAYAL in big letters, so let’s see what happens.

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Johnny flies around Ben to keep him from leaving, but the Baxter Building’s automatic sprinklers put his flame (so why doesn’t this happen every time he uses his powers?). Ben departs after smashing up a wall. Outside, Ben hides in the back of some guy’s pickup truck and falls asleep. The truck drives to New Jersey, after which a mysterious force lifts him into the air, and carries him to a mansion outside the city (no one notices this?).

Back at HQ, the landlord complains about all the damage done to the building during the previous issue’s battle (I imagine he does this a lot), and we get the requisite couple of pages where the characters show off their powers as they clean up and make repairs. Alicia arrives, and Reed is forced to break the bad news to her, that Ben has left the team.

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At the mysterious mansion, we learn that Frightful Four – Medusa, the Wizard, Sandman, and Paste-Pot Pete, um, I mean the Trapster – have abducted the still-unconscious Ben. We get a requisite couple of pages of them showing off their powers as they fight among themselves. Medusa appears to have taken the leadership role among the group, bossing them around. They ominously state they’re going to hook Ben up to an “ID machine.”

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Reed, meanwhile, does the guilt trip thing, blaming himself for Ben leaving. “As leader of the F.F., I’m responsible for everything!” he says. Johnny gets a tip that Ben was spotted in Jersey, and Reed and Sue take off in search of him. Five miles away, according to the caption, the Wizard attaches the ID machine to Ben. He says the machine reverts the human mind back to its most evil, primitive instincts. (I’m not sure how primitive instincts are automatically evil, but this is mad science we’re dealing with.) The Trapster discovers Medusa and Sandman having a game of poker (!) and he suggests that there’s something romantic happening between them. Sandman seems to confirm this, saying “I like dames who play rough.” Classy. Jealous, the Trapster starts a fight with the two of them, but it’s broken up by the Thing, who is now under the Wizard’s control. Shockingly, Ben rips out some of Medusa’s hair, which knocks her out. The Wizard declares himself to be leader of the team again.

The FF fire a signal flare nearby, and the Frightful Four see it. Then there’s an odd jump where Reed and Sue are joined by Johnny, right outside the Frightful Four’s mansion. Apparently, they’ve been going door to door, and now they’re conveniently at the right house? Anyway, the bad guys attack, and it’s time for several pages of fighting. The villains are no match for our heroes, until Ben shows up. Sue and Reed pull their punches, but Ben doesn’t, and he knocks them both out. Ben uses the Sandman’s sand to douse Johnny’s flame and then knock Johnny out as well.

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The Trapster devises several traps to keep the FF from fighting back – Johnny is affixed with a sprinkler vest that will douse his flame if he tries to use it, Sue is sealed up in a giant plastic bag that can stretch to any shape, and Reed is glued in place with the Trapster’s famous super-paste. The Wizard, who is worried about Medusa taking leadership away from him again, puts Ben to sleep with his super-hypnotism.

Then we get several pages of the Frightful Four debating what to do with Ben. Sandman wants to kill him, while the Wizard wants to continue using him against their enemies. Medusa has a moment of compassion for Reed, feeling bad for him “I must not become weak and feminine at a time like this!” she thinks. When Ben wakes, the Wizard gives him a big speech about how Ben’s monstrous face is all Reed’s fault. Ben buys it. Reed wakes, still unable to move because of the paste, and tries to talk some sense into Ben, but it’s too late. Ben declares, “I’ll do to you what you did to me!” And… to be continued!

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Unstable molecule: Reed’s need for control and his guilt trip over Ben both speak to his ongoing character development, something we’ll get a bigger dose of as we get closer and closer to the big issues #49-51.

Fade out: Sue shows how tough she really is during the fight, using her force fields to take out three of the Frightful Four before the Wizard unleashes Ben.

Clobberin’ time: Ben spends most of the issue asleep or under the Wizard’s power, but there’s a telling scene at the beginning, where he roams the streets of the city, alone. He ponders Reed and Sue’s engagement, and all of Johnny’s girlfriends and sports cars, and he wallows as to he’ll never have that because he’s just a monster. This is some real human drama amid all the melodrama.

Flame on: Johnny does very little in this issue. Between water and sand, it seems like any time he starts to use his flame, someone’s right there to douse it. His car, however…

Trivia time: One page shows Johnny’s latest hot rod, an “S.S. Excalibur Racer.” This appears to be the 1964 Excalibur S.S., made by Studebaker. They went for $100,000 each, which was insane money in the mid-1960s.

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Fantastic or frightful: Here we begin to see what will later be called “decompressed storytelling.” By stretching this story out over several issues, we get longer fight scenes, and more character interaction. This is a different feel than the packed-with-plot early issues. A lot of it is build-up for the next two chapters – that’s right, two more chapters to go.

Next week: Everybody fight!

****

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Ten cent movies: Death Machines

A while back, I bought this 50-movie set, Sci-Fi Invasion, for five bucks. That adds up to ten cents per movie. Time for some martial arts action with 1976’s Death Machines.

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Here’s what happens: A sinister crimelord has a group of mindless killers at his disposal, which he uses as assassins. For reasons not clear to me, he has them attack a prestigious martial arts school, where they kill all but one person. After recovering, the survivor goes on the hunt for revenge.

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Speculative spectacle: Our hero got his hand cut off during the attack, and has to re-learn how to fight. This also gives him a good reason for the ol’ righteous vengeance. Before that can happen, though, we’ve got a romantic subplot, a subplot with a bunch of cops, a kidnapping subplot – subplots everywhere, basically.

Sleaze factor: The head mobster chats on the phone poolside while surrounded by topless female sunbathers. Classy.

Quantum quotables: Stereotypical angry police captain: “Karate school murders? Karate school murders? Oh, yes, now I remember. I read about them in the newspaper somewhere… BECAUSE I STILL DON’T HAVE YOUR REPORT!”

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What the felgercarb? The movie screeches to a halt halfway through for an extended scene in which the psycho killers beat up some unruly bikers in a diner. Who is the main character in this movie?

Microcosmic minutiae: All twelve discs on this Sci-Fi Invasion set have the same music on the menu screens, this weird, screechy synth tune. Turns out that annoying music is the main theme from Death Machines. Composer Don Hulette, you haunt my nightmares.

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Worth ten cents? There’s a lot of fighting and craziness, but it’s so and overstuffed with needless characters and subplots that it’s just one big mess. Skip it.

****

Want more? Check out my book, CINE HIGH, now available for the Kindle and the free Kindle app.

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Fantastic Friday: Battle!

Reading the Fantastic Four comics from the start. At the end of the last issue, our heroes were in bad shape. They’d lost their super powers, the evil Dr. Doom had taken over their headquarters and used their weapons against them, and now they’re separated and vulnerable out on the streets of New York. Fortunately, fellow crimefighter Daredevil, who is secretly the FF’s lawyer Matt Murdock, is lending a hand, and was on his way to the Baxter Building to duke it out with Doom. That takes us to issue 40, a landmark of awesome Jack Kirby action.

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Doom sends a flying remote control camera, called a “TV eye,” out into the city to find the FF, startling the innocent passersby. It spots Reed and Daredevil. Get this: Daredevil makes some quick adjustments to his billy club, turning it into a miniature sniper rifle and, with the help of his radar sense, takes out the camera in one shot. (So why isn’t Daredevil a sniper all the time? Just imagine how many bad guys he could take out from a distance.)

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Sue and Johnny pull up in a commandeered taxi (do the FF have that authority?) to pick up Reed. The team’s only hope, Reed says, is to get to his “electronic simulator.” They make it to the Baxter Building, which has been barricaded by cops. A line of dialogue states that the police are under orders from the Pentagon not to attack Dr. Doom, but to let the FF have the first crack at him. (The NYPD takes orders directly from the Pentagon?) Inside the building, Doom attacks our heroes with their own security devices, which are lethal, apparently. Daredevil then sneaks into Doom’s lab for a brief fight. Doom manages to stay a few steps ahead of DD, using more of Reed’s inventions as weapons.

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Ben shows up out of nowhere and rejoins his teammates. After some business of them being trapped in an elevator, they make it to the lab, where Doom has gotten a hand on Daredevil and wrestled him to the floor. Reed finds the simulator, and we’re reminded that this is the same device he used to boost the FF’s powers to defeat the Skrulls back in issue 37. While Doom beats the crap out of a still-human Ben, Reed restores the super powers to Sue, Johnny, and himself. This doesn’t faze Doom, as he uses a “refrigeration unit” to freeze everyone solid, except for the helpless Ben.

Reed, with some limited mobility, aims the simulator at Ben. Ben says maybe he wants to stay human, and be normal like everyone else. Reed apologizes, and says turning Ben back into a monster is the only way to stop Doom. In a dramatic three-panel page, Ben transforms back into the Thing.

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The rest of the issue is one huge slugfest between Ben and Doom, with page after page of them wailing on each other. Most Dr. Doom stories are about outsmarting him, with his arrogance being all about his genius. Now, we see a new side to Doom as he faces a purely physical threat. Prepared for any eventuality, Doom has pimped out his armor with all kinds of weapons, not to mention that it enhances his physical strength, so he can give and receive punches just as hard as the Thing. But no matter how hard Doom fights, Ben just keeps coming back for more. Ben finally gets a hold of Doom, smashing his gauntlets and ripping open the computerized doo-hickeys on Doom’s chestplate. A beaten, barely-standing Doom hobbles out of the building, as Reed explains that Doom is truly defeated, by being humiliated. (So are they just letting Doom go, or are we to assume all those cops outside arrested him?)

Finally, another cliffhanger: After being transformed into a monster once more, Ben says he’s had enough, and that he’s quitting the team – this time for good. To be continued!

Unstable molecule: Again, one has to wonder what goes on in Reed’s lab, where are there are all these deadly weapons just lying around.

Fade out: The spotlight is on Ben this issue, so poor Sue spends the whole thing on the sidelines.

Clobberin’ time: For as much as the Fantastic Four’s saga is all about the rivalry between Reed and Dr. Doom, this one establishes a secondary rivalry between Doom and the Thing. In future issues, look for occasional references to Doom’s disdain for Ben.

Flame on: Like Sue, Johnny pretty much sits this issue out, although I love that he shouts “Va-voom!” after getting his powers back.

Trivia time: One of Doom’s weapons he uses against Ben is a gun that takes molecule-sized pebbles (!) and transforms them into giant boulders, firing them at Ben. Doom can be seen using this “boulder gun” in one of the Capcom/Marvel video games.

Fantastic or frightful: Basically, it’s an “all they do is fight” issue, but it’s Jack Kirby just bringing it with the art. Nobody does big action like Kirby, and this issue just proves it.

 Next week: The betrayal!

****

Want more? Check out my book, CINE HIGH, now available for the Kindle and the free Kindle app.

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Ten cent movies: Life Returns

A while back, I bought this 50-movie set, Sci-Fi Invasion, for five bucks. That adds up to ten cents per movie. This movie, Life Returns, was made in 1934. A disclaimer at the beginning of the film states that it contains real footage of a scientific experiment in which a dead animal was, in fact, brought back to life. This should be… interesting.

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Here’s what happens: It’s the story of Dr. John Kendrick, a scientist fresh with a singular goal to prove that bringing the dead back to life is possible. Everyone wants him to use his genius for practical applications, but he just won’t give up on his dream. He’s then separated from his son due to his crazy talk about death, and there’s a ton of father/son melodrama.

Speculative spectacle: Eventually, it all leads to the big scene, incredibly creepy real-life footage in which doctors attempt to bring a dog back from the dead, after it had been gassed at the pound. This is not a scene for animal lovers.

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Sleaze factor: A headline reads, “Well-known scientist to wed socialite.” Tabloid scandal!

Quantum quotables: “I have the formula to get the heart circulating again, and with it breath, and with it life!”

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What the felgercarb? We spend a lot of time with Kendrick’s son, after they’re separated and the kid is put in juvenile hall, which in this movie looks like something out of Oliver Twist. The boys embark on a wacky comedy adventure to free dogs from the pound, at which point I say, “I thought this was a sci-fi movie.”

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Microcosmic minutiae: Kendrick is a fictional character. The real dude was Dr. Robert E. Cornish.  The real-life surgery footage was recorded on May 22, 1934, in Berkeley, Calif. Somehow, the footage got into the hands of these filmmakers, and there we go.

Worth ten cents? Yeah, let’s take some incredibly creepy footage of guys experimenting on a dead dog, and build a heartwarming father/son drama around it. Only in Hollywood, I guess.

****

Want more? Check out my book, CINE HIGH, now available for the Kindle and the free Kindle app.

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Ten cent movies: The Giant of Metropolis

A while back, I bought this 50-movie set, Sci-Fi Invasion, for five bucks. That adds up to ten cents per movie. The Giant of Metropolis is a horribly-dubbed Italian sword and sorcery movie from 1961, lacking in both swords and sorcery.

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Here’s what happens: Back in ancient times, the heroic and muscle-bound Obro travels from a pre-sunken Atlantis to the equally-mythical city of Metropolis, where he hopes to defeat the evil King Yotar before the king can use advanced technology to overthrow nature itself.

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Speculative spectacle: Our beefcake hero gets captured immediately, and then goes through the whole slave-becomes-gladiator/gladiator-becomes-hero thing. There’s a lot more dramatic speechmaking than there is action.

Sleaze factor: The plot (what there is of it) screeches to a halt so the king can be entertained by sexy dancing girls.

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Quantum quotables: Obro: “Why don’t you rebel?” Metropolis citizen: “Because my physical existence is artificial.” (This isn’t followed up on. We’re just supposed to buy this as an explanation and move on.)

What the felgercarb? I guess the filmmakers couldn’t afford a James Bond-style death trap, so they instead have the hero trapped by an inescapable spotlight.

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Microcosmic minutiae: As Obro, bodybuilder Gordon Mitchell didn’t speak any Italian, so his voice was dubbed into Italian, and then dubbed back into English by somebody else. So… much… bad… dubbing!

Worth ten cents? There’s a reason why a lot of fantasy adventure heroes hang out at the tavern. It’s to make them relatable. When we see sword-bearing dragonslayers throw back a pint with their buddies, we get the sense that they’re just like us, deep down inside. The Giant of Metropolis has none of that. It’s so otherworldly and self-important, that I’m left with not caring at all what happens to these people or their enchanted kingdom. Just awful.

****

Want more? Check out my book, CINE HIGH, now available for the Kindle and the free Kindle app.

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Fantastic Friday: Powerless

Reading the Fantastic Four comics from the start. With issue #39, we’re in the middle of a run of issues that are serialized, so prepare for cliffhangers and recaps. At the end of the last issue, after their fight with the Frightful Four, our heroes were caught in a mysterious “Q-bomb” explosion, which seems to have had strange effects on them.

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The issue begins out at sea, with a submarine crew rescuing a still-unconscious Fantastic Four, noting that the Thing has become an ordinary human. Aboard the sub, Reed stirs, flashing back to the end of last issue. As the four are revived, what the readers have already figured out becomes evident to our heroes – they’ve lost their powers.

Back at home, Reed dives into research, although finding a way to restore everyone’s powers seems fruitless. Days later, Reed has come up with an alternate solution. He’s invented suits for Sue and Johnny that mimic their powers. He then creates a Thing lookalike robot that Ben can operate with remote control. This leads to some slapstick, as the robot isn’t so easy to manage, and it knocks down a few walls. Reed says all this work is to prevent the FF’s enemies from learning they are powerless.

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On cue, we cut to Latveria, where Dr. Doom is sitting on his throne being entertained by a hypnotist. Sure, why not? This guy is so good, he can tell that Doom’s mind has been messed with, and that he still believes he defeated the FF back in annual #2. The hypnotist undoes the mental block. Doom remembers what happens, and he is pissed off. He takes off in a goofy-looking “gyroscopic flying machine of his own design,” in search of revenge.

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Back in New York, blind attorney Matt Murdock shows up at the Baxter Building, wondering why the FF called him there. Reed, who has built an exoskeleton to stimulate his stretching, says he wants Murdock to have power of attorney in case something happens to them. Murdock can sense something is wrong with the team, but he’s not sure what. Before he can ponder this further, the building is rocked with an explosion. The FF uses their faux powers to escape the wreckage, with mixed results. Murdock, meanwhile, ducks around a corner and dons his red costume, changing into Daredevil, the man without fear!

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The lights are knocked out, but this is of course no problem for DD, who leads the Fantastic Four to safety through the dark. Sure enough, Dr. Doom is behind the attack. Daredevil quickly deduces that the FF has no powers, and he agrees to keep helping them. Things get worse as Doom takes over the Baxter Building, with our heroes on the outside. Doom hijacks the FantastiCar and sends it after our heroes by remote control. Daredevil helps them out with his sharp reflexes and quick thinking. Doom then pulls out a vortex machine, using it to destroy buildings all over the city. Daredevil and the FF are on the run, being pursued by the vortex. Reed and Daredevil use some convenient gas canisters to destroy the vortex.

Doom is next to figure out his enemies have no powers. He sends more high-tech weapons after them. Daredevil helps save everyone, but they’re separated, and spread out among the city. The issue ends with our four heroes on their own and under fire in the streets of New York, while Daredevil heads straight toward Doom to confront him. To be continued!

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Unstable molecule: Even without his powers, Reed manages to help out with his brains, outsmarting Doom as best he can.

Fade out: Sue’s invisibility suit doesn’t work very well, as everyone can still sort-of see her, and trying to generate a force field shorts it out.

Clobberin’ time: Ben hardly reacts to being human again, desperately wanting his powers back. The issue tells us that this is because the FF are now vulnerable to attack, but this also speaks to how accustomed he has gotten to the new him.

Flame on: Johnny’s flame suit works best out of all the power replacements, but it doesn’t last long in the rubble after the big explosion.

Trivia time: This is actually not the first time the FF have met Daredevil. In Daredevil #2, Matt Murdock became the team’s personal attorney after Daredevil helped them in a fight against the evil Electro.

Fantastic or frightful: I’m a sucker for “superheroes temporarily lose their powers” stories, because they’re usually character-driven, as the heroes are forced to deal with change and think on their feet. Having Daredevil here cheapens that somewhat, as he does the team’s fighting for them, but this is still a great, suspenseful, “how will they get out of this one?” issue.

Next week: Slugfest!

****

Want more? Check out my book, CINE HIGH, now available for the Kindle and the free Kindle app.

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Ten cent movies: Evil Brain From Outer Space

A while back, I bought this 50-movie set, Sci-Fi Invasion, for five bucks. That adds up to ten cents per movie. A while back, I wrote about Invaders from Space, which was really two chapters of the Japanese matinee serial Super Giant poorly reedited into a stand-alone movie. Now I’ve come to Evil Brain from Outer Space, another two chapters.

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Here’s what happens: Let’s see if I’ve got this straight. Evil alien warlord Balazar was killed a while ago, but his brain survived as part of a supercomputer. Now, the brain is on Earth, along with Balazar’s followers. Chubby ballet-dancing space hero Starman has been sent to Earth to save the day.

Speculative spectacle: Balazar’s plan involves spreading deadly mutants throughout the world, including an unfortunate fellow with a giant eyeball on its stomach.

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Sleaze factor: Nope. This one was made for the kiddies.

Quantum quotables: “Be wary, one slash of the mutant’s cobalt nails could destroy.” – the narrator decides to speak directly to the hero, for some friendly advice.

What the felgercarb? Starman and his alien foes disappear for huge chunks of the running time, where we instead follow a detective pursuing a bunch of thieves. The narrator tells us the burglars are aliens in disguise, but I don’t know. Was this part of some other movie edited into this one to pad out the runtime?

Microcosmic minutiae: Wikipedia has an entire paragraph devoted to the crotch-stuffing in actor Ken Utsui’s Starman costume. Thanks, internet!

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Worth ten cents? It’s pretty hilarious to see Starman fighting mutants, but the rest of this thing is just dreadfully boring when it could be/should be dreadfully insane.

****

Want more? Check out my book, CINE HIGH, now available for the Kindle and the free Kindle app.

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Ten cent movies: The Bat

A while back, I bought this 50-movie set, Sci-Fi Invasion, for five bucks. That adds up to ten cents per movie. Who doesn’t love Vincent Price? His 1959 film The Bat is considered a classic by many, and it’s next on the list. Let’s watch it!

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Here’s what happens: A mystery writer and her friend are worrying about rumors of a ghostlike, faceless figure called “the Bat,” running around killing people. Meanwhile, a doctor, played by Vincent Price, gets into a criminal scheme involving a million bucks hidden inside a dead man’s grave.

Speculative spectacle: While there’s some talk about the Bat being a ghost, it’s evident early on that it’s a man in a mask, and we’re in the midst of a crime story, not a haunted house story. thebat3

Sleaze factor: None, other than everybody’s criminal scheming.

Quantum quotables: Crook: “What would you do for half a million dollars?” Vincent Price: “Anything… short of murder.”

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What the felgercarb? The writer’s friend is named Liz Allen. Peter Parker had such a crush on her before he started dating Betty Brant.

Microcosmic minutiae: It’s a remake! The Bat began life as a play in 1920, with the first film version in 1926, a second in 1930, and then this one.

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Worth ten cents? The movie can’t really hide its based-on-a-play roots, as it’s mostly talky and stagey. The creepy atmosphere it’s famous for doesn’t really come up until the end.

****

Want more? Check out my book, CINE HIGH, now available for the Kindle and the free Kindle app.

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Fantastic Friday: Ban the bomb

Re-reading the Fantastic Four comics from the start. We just met the Frightful Four two issues ago, and now they’re back for more in #38.

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This one begins on an odd note, in which our heroes are standing atop a bunch of giant photographs Reed took during their trip to the Skrull homeworld last issue. This is quickly forgotten about in favor of some wacky slapstick in the customary “the characters show off their powers for a few pages at the beginning” thing, including a weird bit where Ben catches Sue and threatens to spank her! He’s just kidding, right?

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The fun and games end as we’re reunited with the Frightful Four. There’s the Wizard with his gravity-manipulation powers, Medusa with her super hair, and Spider-Man’s old foe the Sandman. The fourth member, Paste Pot Pete, announces that he’s officially changed his codename to the Trapster. “It’s a name with dignity!” he says. He’s also gotten rid of his glue gun in favor of a bunch of high-tech gadgets he calls his traps. The Frightful Four fight among themselves for a bit, including an eye-popping full-page spread in which the Wizard knocks his teammates around. It’s a fun contrast – the FF’s bickering is playful, while their enemies bickering is more mean-spirited.

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The Frightful Four’s first move is (sigh) to kidnap Sue while Sue is out shopping. (Sigh, again) Reed, Johnny and Ben learn of this and investigate, but with no luck. The villains are hiding out on a pacific atoll that was recently the site of nuclear testing. There, the Wizard explains that the plan is merely to destroy the FF. To do this, he has constructed a deadly “Q-bomb.”

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The Wizard’s ship, a little sphere-shaped thing, appears in the sky over New York, and we get several pages of Reed, Ben and Johnny chasing it around. It eventually captures Johnny and cutting off his powers by wrapping him up in “asbestos tape.” Sure, why not? Reed and Ben pursue. At the atoll, the Frightful Four emerge from hiding, Johnny and Sue both escape, and everybody fights. The frightful four escape while the FF are momentarily distracted as they locate Sue underground. There, Ben recognizes the Q-bomb (how is it that he’s the one who recognizes it? From his days as a test pilot?) and he knows it’s about to go off.

From a distance, the Frightful Four watch (and gloat) as the Q-bomb explodes, with our heroes still on the island. Unbeknownst to the bad guys, Sue managed to save everyone in a force field, only to have the blast knock all four of them unconscious. As they’re knocked out, Ben turns back into a human and… cliffhanger!

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Unstable molecule: Reed at one point stretches into a giant spring to launch Ben into the air, which is good. Later, he lets himself get punched in the face by the Trapster, which isn’t as good.

Fade out: Sue gets taken captive again, but does manage to rescue everyone at the end.

Clobberin’ time: The Wizard’s spherical ship is almost like a fifth member of the Frightful Four, so it’s gratifying when Ben finally gets ahold of it and smashes it real good.

Flame on: The Trapster tries to take out Johnny with some “suction blasts.” It doesn’t work, though, as Johnny later chases him off with his flame.

Trivia time: This is the issue that attempts to make Paste Pot Pete cooler by renaming him “the Trapster,” but it never really sticks, and he’s gone on to become something of a joke character.

Fantastic or frightful: I never like it when the villain’s only motivation is to destroy the hero, and that’s the case here, making the Frightful Four somewhat uninteresting. Nonetheless, here’s a rare case of the bad guys flat-out winning at the end of the story. The cliffhanger promises to stir up big things in the next issue.

Next week: Meet Mr. Billy Club!

****

Want more? Check out my book, CINE HIGH, now available for the Kindle and the free Kindle app.

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Ten cent movies: The Manster

A while back, I bought this 50-movie set, Sci-Fi Invasion, for five bucks. That adds up to ten cents per movie. The starched-shirt conservatism of the 1950s comes to an end with all the sex and violence in 1959’s The Manster.

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 Here’s what happens: Larry, an American journalist in Japan, makes friends with a local doctor, not aware that the doc is up to some mad science, with a basement full of half-human monsters. The doctor drugs then experiments on the unsuspecting American, transforming him into a half-man, half-monster… a manster!

Speculative spectacle: At first, Larry seems to be experiencing the ol’ Jekyll and Hyde thing, with the experiments affecting his personality. Then, an eyeball sprouts on shoulder, growing into a second head, and finally into a separate, evil Larry.

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Sleaze factor: The first shot of the movie is two women skinny-dipping, followed immediately, by a bloody monster attack. Later, our American hero has no problem romantically pursuing every Japanese lady he meets, even though he has a wife waiting for him back him back home.

Quantum quotables: Larry: “I don’t know what I like better, Japanese Sake, or Japanese geishas.” Doctor: “We have plenty of both here.”

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What the felgercarb? The mad doctor’s secret lab is located inside an active volcano. How does that work, exactly?

Microcosmic minutiae: This movie is allegedly a favorite of director Sam Raimi, which seems proven by how the good-Ash-versus-evil-Ash scene from Army of Darkness is lifted (ripped off?) from this one.

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 Worth ten cents? This one’s a lot of fun, actually, thanks entirely to a crazed, over-the-top performance by actor Peter Dyneley as Larry. He was doing “Nicholas Cage crazy” before that was a thing.

****

Want more? Check out my book, CINE HIGH, now available for the Kindle and the free Kindle app.

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