Gallery of Horror

Of course "Dr. Terror's Gallery of Horrors" is no classic, but I'm fond of David Hewitt's films and everyone seems to be having fun here. John Carradine, in full evening wear, introduces five not-very-scary tales; he also stars in one, while Lon Chaney Jr. stars in another. Other familiar faces include Roger Gentry ("The Wizard of Mars", also directed by Hewitt and co-starring Carradine) and Joey Benson (Al Adamson's "Horror of the Blood Monsters" and "Blood of Ghastly Horror"). Among the highlights of the movie are Carradine's fantastic booming voice, the dreamy soundtrack, and the cheesy, $1.95 special effects. There are some unintentionally funny moments, too, like the extended scenes of a horse-drawn carriage barreling down a dirt road (very obviously taken from Roger Corman's "The Raven"), and the vampire who is trying his hardest to speak with a Hungarian accent but ends up sounding like a Mexican bandito from some cheap western. Every time I watch something like this, I can't help but wonder whatever became of the people who made all those no-budget horror flicks of the '60s and '70s. They worked under such primitive conditions, and I'm sure they would have been doing something else if they'd had their druthers, but they almost always turned out an entertaining product. Now they've disappeared. Mr. Hewitt, Mr. Gentry, Mr. Benson...where are you? :)

What first began life in Sept. 1966 as "Dr. Terror's Gallery of Horror" evolved over the years with new titles for cinema ("The Blood Suckers") and television ("Return from the Past"), easily available today under the shortened title "Gallery of Horror." John Carradine had earlier garnered the title role in "The Wizard of Mars" for director/special effects maven David L. Hewitt, who here managed to corral Lon Chaney and Rochelle Hudson to add greater marquee value to what arguably appears to be his masterwork. Rather than science fiction, truly impossible on such chintzy budgets, we have traditional, old fashioned horror, an anthology film inspired (as one can guess by the title) by the 1964 Amicus feature "Dr. Terror's House of Horrors" (one character even named after Peter Cushing!). Conceived by CREEPY editor Russ Jones, an expert in short stories, Hewitt spent approximately $20,000 on a super fast 5 day schedule at Ray Dorn's Hollywood Stage that left the actors breathless, and audiences speechless (Al Adamson and John Carradine had just completed "Blood of Dracula's Castle" using the same studio facilities). Virtually all the stock footage is culled from AIP's Roger Corman Poe films (plus "The Terror"), its main musical theme cribbed from 1960's "The Hypnotic Eye." Carradine is the unnamed narrator, introducing on screen all five stories but only appearing in the opener, "The Witches Clock" (13 minutes), in which a young couple move into a New England castle that 300 years before housed a Salem witch, with an enchanted clock that revives the spirit of Carradine's Tristram Halbin (little characterization in just two scenes). Second, and perhaps weakest, is "King Vampire" (12 minutes), feebly depicting Scotland Yard's hunt for a vampire that supposedly has the face of a corpse, and how they've detained all suspects that fit that description! Next is another poorly executed story, "Monster Raid" (16 minutes), with Rochelle Hudson's adulterous wife getting her comeuppance from her dead husband, whose resurrection was made possible by his own curiously vague formula. Fourth, "Spark of Life" (15 minutes) casts top billed Lon Chaney as Dr. Mendell, the only mad scientist of his entire movie career, a colleague of Hamburg's Baron Erik Von Frankenstein, continuing experiments that involve bringing the dead back to life via electricity. His greatest mistake is in choosing the corpse of an executed murderer out for revenge, but Chaney really acts up a storm, running the gamut from elation to disappointment, deadly serious as he attempts to undo his success with predictable results. Last is "Count Dracula" (13 minutes), a seriously crippled rehash of "Dracula's Guest," featuring a woefully inadequate Mitch Evans in place of Carradine as Dracula. As bad as it undoubtedly is, this film remains ideal for younger audiences who favor harmless terror for late night viewing, which was how this monster kid saw it on Pittsburgh's Chiller Theater on four occasions between 1972 and 1978.

Gallery of Horror (1966)

BOMB (out of 4)

John Carradine hosts five different horror stories in this incredibly poor cash-in on Dr. Terror's House of Horrors. This here is another contender for one of the worst films ever made but thankfully it's so bad that you can laugh at it. Carradine stars in the first story, which is probably the best one. Lon Chaney, Jr., sadly showing signs of his alcoholism, turns in the worst performance of his career and it's rather hard not to laugh. All five stories end with dramatic music at their "shock endings", which are all stupid and lame.

Look, I'll be brief. If you have ANY taste for the so-bad-they're-great classics (Plan 9, Robot Monster, Brain That Wouldn't Die), hunt down a copy of this, the most overlooked member of the club. Amazingly, this was put out in letterboxed form; but anyway you can find it, WATCH THIS MOVIE. It is fantastic

Okay, there's one thing about the 80's that I miss. At 4AM, one used to be able to see Grade Z gems like this on TV. Now it's nothing but those rotten Infomercials. You could say that Ted Turner killed film culture, but I would argue that it was Anthony Robbins. In fact, during that golden hour of the day/night, one could see many films unleashed by the maverick no-budget director David L. Hewitt. THE MIGHTY GORGA, WIZARD OF MARS and JOURNEY TO THE CENTER OF TIME used to tickle many a bad-film lover (or torture an unsuspecting insomniac) who tuned in.

This film, which I saw under the title RETURN FROM THE PAST, is a gloriously inept, amazingly miserable cash-in on the then-popular trend of horror anthology movies (in which a few short, separate tales of horrific irony are strung together by an onscreen narrator). All the hallmarks of Hewitt's unmistakable authorship are in abundance here.

First, there is the hiring of once-great, "anything for a buck" actors; in this case, John Carradine (naturally) and Lon Chaney Jr, in small roles which nonetheless gave the theater owners a name to put in the marquee. Secondly, Hewitt once again fills the cast with his oddball stock company of dreary, nasal-sounding "actors" (who is this Roger Gentry, anyway?). As well, the director's sterling use of half-finished sets, or plain black backgrounds (when there were none at all!) is such a feat that would even make Ed Wood blush if he worked under such insane conditions. Add to this, the surprisingly ambitious writing (for bargain-basement cinema, anyway) which paradoxes the miserable attempts at mise en scene. For such a bottom-of-the-barrel project as a Dave Hewitt film, one wonders why he bothered with such an adventurous screenplay (like WIZARD OF MARS or JOURNEY TO THE CENTER OF TIME, especially), when the insultingly bad production values would work against the ambition of the writing anyway. Thus, therein lies the strange dichotomy of Hewitt's work as a director. With a thrift-store budget, he really tried to make something out of nothing. Who can blame him if he didn't succeed?

Add some haphazard dubbing, some great juvenile cartoon blood dripping on the screen, and you have a truly beguiling piece of work. Anyone who insists on making tired, threadbare projects like this has to get a medal for bravery alone.