zc

Pressbooks (Horror, Sci Fi, Fantasy)

Radar Men From the Moon (1952) Pressbook

The novelty of this Republic serial is the nifty atomic rocket backpack that sends our hero, Commando Cody, flying through his adventures, literally. The costume first appeared in King of the Rocketmen (1949). The Commando Cody name begins with this serial, Rader Men From the Moon, which does have a cool futuristic military ring to it. Stuntman Dave Sharpe doubled for Tristram Coffin in King and George Wallis took over the backpack for Rader Men. I am not sure who stunt doubled for him.

Looking to create a character that would be as impressionable (aka marketable) as Spy Smasher, Captain America, and Captain Marvel, Republic used the tagline Commando Cody, Sky Marshall of the Universe–ditto on the cool futuristic military ring. What little kid wouldn’t want a rocket backpack to fly around the house in? The costume reappears in Zombies of the Stratosphere, where more space aliens threaten earth, particularly one notable screen newbie who wound up in a starship later on: Leonard Nimoy.

Choosing the Commando Cody name is explained in Jack Mathis’s Valley of the Cliffhangers.

Entitled Planet Men From Mars until four months prior to production, the serial underwent more basic changes than the alteration from marturiam to lunarium for the ray-gun-powering element, and these primarily dealt with the leading character who was originally called Larry Martin. From a list of names submitted to associate producer Franklin Adreon, Republic prexy Herbert J. Yates chose “Commando” from one entry and “Cody” from another to form his composite choice “not only for this serial but for several more to come.” Through Adreon, all studio personnel were advised of the importance of this creation, which was to be promoted in theaters and on television as well as being capitalized on via the marketing of such items as ray guns and flying suits manufactured under the Commando Cody label.

Radar Men from the moon pressbook

Prehistoric Women (1950) Pressbook

Not to be confused with the Hammer produced Prehistoric Women (1967), this 1950 oddity is notable for its sexploitation angle that’s light on sex but heavy on the cheesecake. Here’s what I suppose the pitch might have been. “We get a bunch of beautiful women together, dress them in furs and go heavy on the makeup and hairstyling, toss in some clubs for them to use to find primitive men as husbands, add the usual battle of the sexes but make sure the guys show their superiority in the end, and, oh…save the budget by leaving out the dinosaurs. That stop-motion stuff gets expensive. And the sets will be dirt cheap, mainly because they are dirt, with some rocks for good measure. It is the stone-age right?”

And thus was born Prehistoric Women. What’s more dumbfoundingly mesmerizing than this movie (which, really, if shown during a midnight show would be perfect) is the 8-page, oversized pressbook that shows more creativity than the production itself. I’m guessing the creatives behind this held their tongues firmly in cheekiness, especially with the narrator lending the fake-science documentary flair that was a pompous addition to some movies in the early 1950s.

Prehistoric Women 1950 pressbook

The Horror Chamber of Dr. Faustus
and The Manster
Pressbook

The Master Suspense Thrill Show! See The Horror Chamber of Dr. Faustus, cringe in terror from The Manster! Ah, the good old days, when two movies were shown back to back for an admission fee that was about 1/15th the cost of today. You could spend a few leisurely hours in a nicely air-conditioned theater, sitting in the balcony, munching on popcorn (or flicking it across the heads of the patrons below) and too many sugary sweets, watching the horror. Now the horror is more likely seated next to you, with someone eating something smelly, that idiot in the front who can’t seem to stop texting, the guy with the pail of Coke and a small bladder, and you looking back toward the concession stand you can no longer afford. Oh, wait, at least you can spend a few hours–no balcony anymore, bummer–watching a single movie that is as long as a double bill. That’s something, I suppose.

the manster pressbook

Stairway to Heaven (1946) Pressbook
It’s Heavenly

This 12-page, large format, pressbook for Stairway to Heaven, 1946 (the American title), is heavenly. Lots of promotion, articles, and theater lobby eye-candy to bring in the romantic couples. You can thank director Joe Dante (Gremlins, Piranha, The Howling, need I continue?) for sending along this beauty to ZC. This movie is a fantasy romance and stands at 20 in the British Film Institutes’ 100 Best British Movies list. Operation Ethel, the massive escalator built for the titular stairway between here and there, cost a lot of money at the time, but was noteworthy onscreen. Bosley Crowther, the persnickety film critic for the New York Times liked it–a miracle right there.

stairway to heaven 1943 pressbook

Goliath and the Dragon (1960) Pressbook

You can thank American International Pictures for bringing the Italian Goliath and the Dragon to U.S. theaters. Although originally Hercules was the main character, AIP changed the name to Emilius (known as Goliath in the movie) to provide a sequel (well, sort of) for their release of Goliath and the Barbarians. When the rights to the actual planned sequel fell through, AIP just retitled this one instead. They also added a stop-motion dragon into the movie, but you will only see it in the Americanized version. Still perplexing to me is the presence of Broderick Crawford (Highway Patrol, 1955 TV series). I just can’t envision him as the villainous King Eurystheus. And this sword and sandal opus doesn’t even have either Steve Reeves or Gordon Scott! AIP-TV’s initial offering included this movie in the 40-movie deal they struck for television airplay in 1964. That’s where I originally caught this one (probably on a Sunday morning, along with Tarzan and Abbott and Costello). The pressbook itself is nicely presented and it has a coloring page!

After the success of Goliath and the Barbarians, Lou Rusoff wrote a script called Goliath and the Dragon that Sam and Jim planned to film in Italy with Debra Paget. These plans fell through and AIP ended up buying an Italian movie called The Vengeance of Hercules and reworking it to fit their title by adding scenes with a dragon. (Smith, Gary A., American International Pictures – The Golden Years, BearManor Media.)

Goliath and the Dragon Pressbook

Children Shouldn’t Play
With Dead Things (1972)
Pressbook

When you think of VHS, this one definitely comes to mind (for those of us who still think of VHS, that is).  Alternate titles for Children Shouldn’t Play With Dead Things were Zreaks, Things from the Dead, Things from the Grave, and Revenge of the Living Dead. In Germany it was called Cemetery of the Dead, in Finland, Älä leiki kuolleilla, in Portugal, As Crianças Não Devem Brincar Com Coisas Mortas. Some trivia for you courtesy of IMDb: the names on the tombstones in the film are those of the crew members; they were made out of styrofoam (the tombstones, not the crew members). The film’s script was written in ten days (yes, I believe that).

The 1990 guidebook “Uranian Worlds: A Guide to Alternative Sexuality in Science Fiction, Fantasy, and Horror” by Eric Garber and Lyn Paleo lists this film as one of the first horror films to show positive (though stereotypical) gay male characters who also have an important role in its story. (cited from IMDb)

Children Shouldnt Play With Dead Things Pressbook

The Devil Rides Out (1968) Pressbook

The Devil Rides Out is one of those movies, like Casablanca, that I can watch again and again. I wish Hammer had continued a franchise with Christopher Lee as the occult investigator, Duc de Richleau. Terence Fisher and Richard Matheson (screenplay) did a marvelous job with Dennis Wheatley’s rambling book, and the depiction of the more nefarious theme of Satanism (not the fun-loving Sabrina-esque one we’ve come to love these days), is still effective though not quite as shocking. Wheatley had written a few books around Duc de Rickleau and Lee, after meeting the author at a lecture, urged Hammer to lens one of his books.  Lee is noted as saying this was his favorite Hammer movie (cited from IMDb). Considering he played the good guy fighting evil, for a change, I can see why.

The Devil Rises Out movie pressbook

Executive producer Anthony Hinds was inexplicably depressed by the rushes, and made a special request to composer James Bernard to detract from the film’s shortcomings. While Bernard was working on his score, hinds hired Patrick Allen to re-voice co-star Leon Greene, inadvertently compromising the film even more. A pivotal special effects sequence, a close-up of the Angle of Death, was left unfinished. ( The Hammer Vault, Treasures From the Archive of Hammer Films by Marcus Hearn)

Nevertheless, it would seem that Hinds was not the only person who had reservations about Greene’s acting abilities. Commented Christopher Lee in a letter to his fan club shortly after the completion of shooting, “What I have seen of the film, with the possible exception of one member of the cast, promises to be surprisingly good.” Ouch! (Hammer Complete: The Films, the Personnel, the Company by Howard Maxford)

Creature with the Atom Brain (1955)
Pressbook

That look of Richard Denning in the poster art? Priceless. You don’t often (pretty much never, really) see a man recoil in terror in movie poster art. Women are the helpless, emotional victims, not men. I wonder what he thought about it when he saw what the marketing team had dreamed up? Love the coloring page. One of these days I’ll compile a post on coloring pages used for movie publicity. Kind of odd, kind of fun, they’re a promotional gimmick I’m not sure as to their effectiveness, and who the targeted audience was for them.

Creature with the Atom Brain Pressbook

 

Monstrous Trade Ads
From Box Office Magazine

These boffo trade ads were scanned by It Came From Hollywood from Box Office Magazine (1952 to 1956). Trade ads were designed to alert the theater manager to new movies for their silver screens that could bring in good box office receipts to keep the projector humming. Some trade ads were a full page while others could spread across multiple pages, and they were illustrated and worded with gusto to attract attention and excitement.

Box Office Magazine trade ad for Creature from the Black Lagoon Box Office Magazine trade ad for Creature from the Black Lagoon Box Office Magazine trade ad for Creature from the Black Lagoon Box Office Magazine trade ad for Invaders from Mars Box Office Magazine trade ad for abbott and costello meet the mummy.