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Posts Tagged ‘Lew Landers’

Man in the Dark – The First Major Studio 3-D Movie

Sunday, July 9th, 2017

Man in the Dark – not House of Wax – was the first major studio 3-D movie.

The more you know, the more you know how conventional “history” is often wrong. Warner Bros. produced House of Wax, directed by André De Toth in 1953, and touted it as the first major studio 3-D movie – and it’s an excellent thriller, shot in lush color, with Vincent Price in the leading role, devouring the scenery as usual with his customary professionalism.

But House of Wax was not the first major studio 3-D release. That distinction – sort of like a cinematic horse race – belongs to Lew LandersMan in the Dark, starring Edmond O’Brien, seen above in the trailer for the film, which wisely doesn’t show a single scene from the film in question. Instead, O’Brien admonishes the audience that “you’re not allowed in there” and that the film “of necessity, had to be filmed behind closed doors.”

Landers was a prolific but undistinguished director, who director Budd Boetticher referred to as “a no-talent guy. They called him the ‘D’ director there at Columbia; he just wasn’t any good. Whenever they had a picture they didn’t really care about, they’d give it to Landers.”

Well, that’s probably true, although he directed some good films when left to his own devices, such as Bela Lugosi’s last turn as Count Dracula (in all but name) in 1943’s Return of the Vampire, and much earlier Universal’s surprisingly sadistic horror film The Raven (1935, as Louis Friedlander, his real name).

But on Man in the Dark, Landers was ordered by Columbia studio boss Harry Cohn to crank out the finished film in 11 days flat – an astonishing speed for any film, much less one in 3-D – to beat House of Wax into theaters by two days – a slim margin, but nevertheless, a first for a major studio.

So how is the film? Actually, it’s not bad, with a really bizarre plot, as aptly summarized by critic Glenn Erickson: “convicted criminal Steve Rawley (Edmond O’Brien) volunteers for [experimental brain surgery designed to ‘cure’ his criminal tendencies – in the original script, specifically described as a lobotomy] half-assuming that he’ll not survive. He awakes with total amnesia and a more cheerful personality, and under a new name, ‘Blake’ actually looks forward to beginning life afresh tending the hospital’s hedges.

Steve is instead kidnapped and beaten bloody by his old cronies in crime Lefty, Arnie and Cookie (Ted de Corsia, Horace McMahon & Nick Dennis), who want to know where Steve hid the loot from their last robbery. Steve remembers nothing, and kisses from his old girlfriend Peg Benedict (Audrey Totter) fail to extract the location of the $130,000. But weird dreams provide clues that might lead Steve and Peg to the money everyone is so desperate to possess.”

Shot by the gifted cinematographer Floyd Crosby using a modified version of the Natural Vision system, involving two “slaved” cameras in frame-for-frame synchronization in one blimp to muffle the sound of the camera motor – a rather unwieldy system at best – the film could have been much better than it is. As critic Gary W. Tooze pointed out, “Man in the Dark has a pretty good concept going for it – although, perhaps, not dynamically realized or protected with the dialogue. I could see a strong director taking a hold of this project and really making the most of it.”

Nevertheless, it’s still an interesting project, now available on 3-D DVD. It’s certainly worth your time to check it out, and if it was shot under drastic time and budget constraints, it’s still a genuine cultural artifact. Critic Elliot Stein described the film in The Village Voice as “a rescued gem” and added that Man in the Dark “seems to be the 3-D [film] that most exploits the short-lived medium. An endless array of stuff comes whiffling at your face—a lit cigar, a repulsive spider, scissors, forceps, fists, falling bodies, and a roller coaster. The prolific Landers may not have been a great director, but he was a pretty good pitcher.”

You can see it now on DVD in full 3-D; a genuinely intriguing part of cinema history.

New Book – Recovering 1940s Horror Cinema: Traces of a Lost Decade

Wednesday, December 24th, 2014

Here’s a new, groundbreaking book on the horror film in the 1940s.

As the editors, Mario DeGiglio-Bellemare, Charlie Ellbé and Kristopher Woofter note of this excellent collection of new essays, “the 1940s is a lost decade in horror cinema, undervalued and written out of most horror scholarship. This collection revises, reframes, and deconstructs persistent critical binaries that have been put in place by scholarly discourse to label 1940s horror as somehow inferior to a ‘classical’ period or ‘canonical’ mode of horror in the 1930s, especially as represented by the monster films of Universal Studios.

The book’s four sections re-evaluate the historical, political, economic, and cultural factors informing 1940s horror cinema to introduce new theoretical frameworks and to open up space for scholarly discussion of 1940s horror genre hybridity, periodization, and aesthetics. Chapters focused on Gothic and Grand Guignol traditions operating in forties horror cinema, 1940s proto-slasher films, the independent horrors of the Poverty Row studios, and critical reevaluations of neglected hybrid films such as The Vampire’s Ghost (1945) and ‘slippery’ auteurs such as Robert Siodmak and Sam Newfield, work to recover a decade of horror that has been framed as having fallen victim to repetition, exhaustion, and decline.”

In essays by Paul Corupe, Blair Davis, Louise Fenton, Anne Golden, David Hanley, Karen Herland, Mark Jancovich, Kier-La Janisse, Cory Legassic, Peter Marra, Ian Olney, Dennis R. Perry, Selma Purac, Gary D. Rhodes and Rick Trembles, the authors examine a wide range of Gothic films from the era, including such long forgotten gems as Lew Landers’ Return of the Vampire (1944), Bela Lugosi’s last “straight” turn as a rapacious creature of the night; the long-neglected Universal Inner Sanctum series of films, starring Lon Chaney Jr.; and the above-mentioned The Vampire’s Ghost, directed by Lesley Selander from a script by the great Leigh Brackett, who would later go on to work on Howard Hawks’ The Big Sleep (1946), and a little film called Star Wars (1977). All of these films, and the other works discussed in this volume, deserve greater attention, and this superb group of essays by some of the most accomplished younger writers in the field is real contribution to the existing literature on the subject.

As critic L. Andrew Cooper says of the volume, “Recovering 1940s Horror Cinema: Traces of a Lost Decade surveys that touch on horror’s fate during the 1940s, and is a must-read for genre scholars and for anyone who teaches film history. Not only does this collection of essays offer an overwhelming amount of evidence—including accessible, teachable examples—of the genre’s vitality during the period, but it also shows Gothic horror’s presence in film noir’s monstrous gangsters, melodrama’s silenced women, and other cinematic traditions more often discussed as vital to the 1940s. The book’s diverse perspectives offer productive challenges to long-held assumptions about the boundaries and histories of film genres; it’s a great learning opportunity for experienced researchers or for educated readers coming to the subject for its inherently dark pleasures.”

Read more about this intriguing new book by clicking here, or on the image above.

About the Author

Headshot of Wheeler Winston Dixon Wheeler Winston Dixon, Ryan Professor of Film Studies at the University of Nebraska-Lincoln, is an internationally recognized scholar and writer of film history, theory and criticism. He is the author of thirty books and more than 100 articles on film, and appears regularly in national media outlets discussing film and culture trends. Frame by Frame is a collection of his thoughts on a number of those topics. All comments by Dixon on this blog are his own opinions.

In The National News

Wheeler Winston Dixon has been quoted by Fast Company, The New Yorker, The New York Times, the BBC, CNN, The Christian Science Monitor, US News and World Report, The Boston Globe, Entertainment Weekly, The Los Angeles Times, NPR, The PBS Newshour, USA Today and other national media outlets on digital cinema, film and related topics - see the UNL newsroom at http://news.unl.edu/news-releases/1/ for more details.

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