I picked up this Tarzan Escapes MGM pressbook back in 2022. It is extremely fragile so I hemmed and hawed over how to create images from its pages. I have a 24 inch commercial flatbed  scanner, but handling old pressbooks, especially ones that were printed on newsprint paper (high acid content so they deteriorate pretty quickly), is a dicey affair. I eventually worked out a system to move the pressbook around without overly handling it and here you go. I lost a few edge pieces here and there, but all in all, not too bad.

MGM created wonderful pressbooks, but kept the costs down by using paper that wouldn’t last. Of course, who would have thought there would be people like me, eventually, who would collect such disposable movie advertising? Johnny Weismuller and Maureen O’Sullivan were a perfect match for Tarzan and Jane; and the movies turned out to be thrilling and fun at the same time. Check out Cafe Roxy for their blog entry on this movie (https://caferoxy.blogspot.com/2010/10/still-batty-about-tarzan-escapes.html). American audiences didn’t get to see the deleted vampire bats scene and due to a problem with the initial direction, the movie was reshot, so many earlier scenes–some gruesome–were excised. Bummer.

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Tarzan Escapes (1936) PressbookRead More »

While It Came From Hollywood, some films in American theaters from AIP in the 1950s through 1970s came from Italy. American International Pictures had a successful formula for making budget productions that made a profit by targeting male teenagers. But competition latched onto the Arkoff Formula (Samuel Arkoff and James H. Nicholson started AIP as American Releasing Corporation), leading AIP to look to foreign movies for a fresh, cost-effective source of movies. Part of that formula included releasing two B movies on a double-bill, when the usual approach was to release one A and one B.  A movies were more expensive, so having two Bs kept costs low. Their competitors, other independent companies, followed suit and AIP looked to Italy to distribute Italian productions while they figured out a new approach for production at home. One notable success from Italy, for horror fans, was Black Sunday 1960. By the 1960s, AIP teamed with Roger Corman to produce another successful run of horror movies with Vincent Price, and of course, there were the beach party movies with Frankie Avalon and Annette Funicello. Then came the motorcycle cycle and the psychedelic cycle of movies. Notice a trend here? AIP used focus groups to keep on top of what movies their target audience wanted to see.

The Year of the Cannibals is an updated retelling of Antigone, the Greek play by Sophocles, where two warring factions leave the dead in their wake. Britt Ekland plays Antigone. In this version, bodies are left openly in the streets and young people start to defy authorities to bury them. AIP distributed the dubbed movie in 1971 (IMDb).

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A Monogram studio B movie, Allotment Wives notably starred Kay Francis, Otto Kruger, and Paul Kelly. From the poverty row studio that brought us wonderful pop culture Bs like Charlie Chan, the Bowery Boys, Bela Lugosi’s weird but wonderful horrors, and more than a tumbling tumble-weeds’ worth of westerns, came this military insurance scam film noir. Kay Francis was the highest paid actress for Warner Brothers of the 1930s, after a successful run at Paramount. When she openly disagreed with the quality of the work she was getting from Warner Brothers, they relegated her to the backlot for speaking out. Picture deals became harder to find and she eventually signed with Monogram. The term ‘poverty row’ evolved from the smaller B movie studios that produced movies during the 1920s through 1950s, with a lot less money, lesser known actors (or known actors on a downward spiral), and production schedules that didn’t allow for retakes and elaborate staging. But many of those movies remain endearing to movie fans today, especially this one. This pressbook is a more prestigious example of a Monogram pressbook mostly due to Kay Francis’s presence.

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Blind Alley with Chester Morris as the criminal holding a family hostage was remade in 1948 as The Dark Past. In the household is a psychologist who shrinks Morris’s nasty character into reliving his bad upbringing. Originally based on a play called Smoke Screen (as noted by TCM), it also had television productions, one with Darrin McGavin (Night Stalker, baby!). Rather idealistic in how quickly the psychiatrist solves the reason for all the criminal behavior, I still like Morris’s turn at being psychoanalyzed.

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Columbia’s Jack Holt was a popular actor for the studio, who played under his own name. After an argument with Harry Cohn, the studio head, he was relegated to doing a serial: it turned out to be one of Columbia’s top money-makers and with the same film crew, also was a solid actioner that played as well for adults as it did the kids. Columbia had a habit of mistreating their top grossers: The Three Stooges, a case in point. While they were paid peanuts, Columbia went to the bank smiling off of their short comedies. Unfortunately for Cohn, Holt left Columbia with a smile after the serial was completed so there wasn’t a sequel. In Gripping Chapters, The Sound Movie Serial, author Ron Backer gives the record for cliffovers (the end of a serial chapter where our hero takes a sudden precipitous descent) to Holt of the Secret Service. “…who went over a waterfall in an open canoe, rolled off a high cliff in a fight and appeared to go over a cliff in a car, not to mention two falls in a ship and one fall climbing a ladder on a high building.”

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Holt of the Secret Service (1941)
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