Review of “After the Forest” by Kell Woods

from goodreads

The Stuff:

Hänsel and Gretal have grown up and now live in the Black Forest at the close of The Thirty Years War. Rumors abound of Greta’s childhood doings with the old crone in the woods—did she really push that old woman into the oven?—but, for the most part, the villagers accept her. She bakes the best gingerbread.

She uses a recipe in a book recovered from the crone who kept her and Hans when they were children. It talks to her like a naggy roommate or older sister at times. It also tempts her—that gingerbread could do so much more if she added blood. Greta refuses to do this. People like her gingerbread just the way it is.

She also has disturbing dreams, which she thinks involve the death of her mother. She often blames herself for her mother’s death. If she and Hans had come home when they were supposed to, their mother wouldn’t have gone looking for them in the woods, and the wolves wouldn’t have torn her to pieces.

Hans likes to drink and gamble. To her dismay, Greta discovers Hans’s gambling debts are coming due to the local loan shark. In his generosity, he’s willing to take her into his home as a servant, pawing at her while he explains this magnanimous offer.

She chooses to bake gingerbread and sell a whole slew of it at the upcoming Walpurgis festival to cover the staggering amount Hans owes.

On the heels of this comes the news that the local baron dies. The widowed baroness—much younger than her late husband— will increase the taxes. If anyone can’t pay, she understands and will accept labor—a “Blood Tithe”—in its place.

Thoughts:

This is a dark take on an already dark story. Each chapter begins with a few paragraphs dedicated to a retelling of Snow White and Red Rose. The story is not hard to follow, and the two storylines meet up toward the end of the book.

Some things are obvious. When Greta is out gathering honey, she comes across a bear. No one has seen a bear in the area for decades. Instead of attacking her, the bear licks honey off her fingers. She doesn’t report its presence to the town authorities because she’s seen its eyes. The bear is not just any old bear.

The dialogue between the grimoire and Greta is amusing. The book nags and teases her, much like a roommate/older sister/aunt might. This needling takes a sinister turn later, however. Greta has met a “greenwitch,” Mira, and understands the difference between “greenmagic” and “tattermagic.” Tattermagic exacts a price, often pain.

Dark forces want her for their own ends. At the same time, the villagers, long suspicious that Greta was a witch (why is that gingerbread so good? What happened with that crone?), have new reasons to believe she’s dabbled in things she ought not to have. They condemn her to the stake—after a fair trial, of course. They’re not savages.

So, how does Greta deal with the past she doesn’t remember clearly? Or the sense of guilt for causing her mother’s death? With knowledge of the imperfections of those who should have been looking out for her?

I feel compelled to note a scene in chapter 25 dealing with bearbaiting in sad detail. This involves not only torturing a chained bear but also the wounding and death of a succession of dogs. While no real animals were hurt—obviously—it is unpleasant to read.

I enjoyed this book, even with a couple of see-it-coming-from-a-mile-aways. One of the strengths was that author Woods fleshes out her characters. Even the bad guys are bad for a reason. Drunken bum Hans could have been a throwaway, a jerk who refused to grow up, and a millstone around his sister’s neck, but the reader understands he’s haunted by many of the same things that haunt Greta.

At the same time, the book is quite dark—no rainbows or burying of the hatchet. If the reader can accept that, they will probably like this book.






Title: After the Forest
Author:  Kell Woods
First published: 2023

Review of “The Bride of Frankenstein” (1935)

Trailer from YouTube

This is our latest Saturday pizza and bad movie offering, a horror flick with a little bit of everything, including song and dance.

Plot:

The beginning is framed by a discussion among Mary Wollstonecraft Shelley (Elsa Lanchester), Lord Byron (Gavin Gordon), and Percy Bysshe Shelley (Douglas Walton) about the story this innocent young girl has just told. Mary says the story continues.

You see, that Monster (Boris Karloff) survived that burning windmill…

His creator, Henry Frankenstein (Colin Clive), is recovering from all the sturm und drang of having lost his monster as well as the good will of the people. However, his fiancée, Elizabeth (Valerie Hobson), still loves him. Once they are married, they will leave and start a new life.

Before their plans can come to fruition, a man calling himself Dr. Pretorius (Ernest Thesiger) comes to visit. He demands to speak to Henry alone. Henry dismisses Elizabeth and the two talk about… experiments.

Dr. Pretorius has been conducting research but has only gotten so far. He believes the two of them working together—Henry refuses—at first.

In one weird and disturbing scene, Dr. Pretorius shows Henry his “creations,” a series of humans about a foot tall he keeps in glass containers. These include a “queen,” an amorous “king,” and a “ballerina,” among others.

In the meantime, the village realizes the Monster is still alive. They capture him and put him in chains. Silly villagers. The Monster escapes.

A blind hermit (O.P. Heggie) befriends him and teaches him to speak a few words. The Monster loves the hermit’s violin music and enjoys a human connection. The hermit also shows him that fire is good. After nearly dying in a burning windmill, the Monster has a problematic relationship with fire, to say the least.

All good things must come to an end. Some hunters (one of whom is a young John Carradine) stop by to ask for directions and see the Monster. In the confusion, the hermit’s cabin burns down, but the hermit and his violin are saved. The Monster flees.

He chances across Dr. Pretorius in a crypt, who makes him an offer: kidnap the new Mrs. Frankenstein, and he will make him a friend.

Thoughts:

This is a sequel to the successful iconic 1931 Frankenstein (reviewed here), with many actors in the same roles—Boris Karloff as the Monster, Colin Clive as Henry Frankenstein.

The interiors are lavish and extensive, almost as if they were real places. The exteriors rely more on mattes but are nevertheless elaborate, with woods and hills. The convoluted electrical equipment in Dr. Pretorius’s mad scientist lab would make Buck Rogers green with envy.

The final scene of the movie has become iconic. In the credits, the bride is listed with a question mark. It’s well-known that she was Elsa Lanchester, who also played Mary Wollstonecraft Shelley.

image from Wikipedia

The scene with the hermit and the Monster was parodied in Young Frankenstein (1974) (“Fire is good. Fire is our friend.”) in excruciating detail.

The viewer feels both pity for and horror at the Monster. He kills people, but he also longs to be loved. The people in the village hunt him like an animal, not without cause. This existence thing is confusing and frightening. Because his creator rejected him, he has no one to guide him.

While there may be an excess of melodrama for 21st-century audiences and many side plots, this is an enjoyable movie. I had an emotional investment in the Monster. I didn’t care about Henry, but I wanted the Monster to catch a break.


Title: The Bride of Frankenstein (1935)

Directed by
James Whale

Writing Credits
Mary Shelley…(suggested by: the original story written in 1816 by) (as Mary Wollstonecraft Shelley)
William Hurlbut…(adapted by) and
John L. Balderston…(adapted by) (as John Balderston)
William Hurlbut…(screenplay)
Josef Berne…(adaptation) (uncredited)
Lawrence G. Blochman…(adaptation) (uncredited)
Robert Florey…(story) (uncredited)
Philip MacDonald…(adaptation) (uncredited)
Tom Reed…(contributing writer) (uncredited)
R.C. Sherriff…(adaptation) (uncredited)
Edmund Pearson…(screenplay) (uncredited)
Morton Covan…(adaptation) (uncredited)

Cast (in credits order)
Boris Karloff…The Monster (as Karloff)
Colin Clive…Henry Frankenstein
Valerie Hobson…Elizabeth
Ernest Thesiger…Doctor Pretorius
Elsa Lanchester…Mary Wollstonecraft Shelley / The Monster’s Mate
Gavin Gordon…Lord Byron
Douglas Walton…Percy Bysshe Shelley
Una O’Connor…Minnie

Released: 1935
Length: 1 hour, 15 minutes

Review of “The Monster that Challenged the World” (1957)

trailer from m YouTube Not everything that appears in the trailer appears in the movie.

This black-and-white monster flick is our latest Saturday pizza and bad movie offering. It was the usual fare in many ways, but atomic contamination did not spawn the monster this time.

Plot:

Outside a naval research base near the Salton Sea in Southern California, an earthquake rocks the seabed. Later, a seaman named Hollister executes a parachute jump into the water, and a patrol boat carrying Seamen Fred Johnson (Jody McCrea) and Howard Sanders (William Swan) goes to recover him. His parachute floats on the surface, but they find no sign of the jumper. Johnson dives into the water to search for him but sees no trace. He submerges again to look on the other side of the boat.

Sanders becomes concerned when Johnson does not resurface. A shadow falls across him, and the viewer sees panic on his face. He screams.

When the land radio operator, Seaman Wyatt (Charles Tannen), cannot raise the patrol boat, he eventually contacts Naval Intelligence. The new guy in charge, Lt. Cmdr. John “Twill” Twillinger (Tim Holt), goes out with Lt. Robert “Clem” Clemens (Harlan Warde) in a boat to investigate.

They find Sanders dead aboard the anchored boat but no sign of Johnson. They also find a white, sticky substance and collect a sample (in a cigarette case?) for analysis at the lab. While they search, the body of Hollister, the parachutist, surfaces, oddly desiccated and the skin darkened.

The authorities wisely close the beaches.

At the lab, the viewer (and “Twill”) meet the lovely Gail MacKenzie (Audrey Dalton), who works the phones and types. Her friend, Connie Blake (Marjorie Stapp), brings Gail’s daughter, Sandy (Mimi Gibson). She’s there to pick up her husband, George (Dennis McCarthy), a lab assistant. Judging by the oversized smock-like shirt she’s wearing, Connie is either an artist or in the family way.

George Blake tells Twill that the white substance is a “marine secretion,” whatever that is, and that he wants to perform more tests on it.

When Twill checks with Coroner Nate Brown (Byron Kane), he learns that Hollister died of a puncture wound. Something drained all the fluids from his body. Sanders died of a stroke, induced, the coroner supposes, by extreme fear or excitement.

Two men from the lab, George Blake and Dr. Tad Johns (Max Showalter, credited as Casey Adams), dive into the lake and find an odd balloon-like structure. They cut it loose and bring it up. A creature about the size of a Volkswagen, looking like a segmented worm with pincers at the sides of its mouth, attacks and kills Blake. Johns returns to the surface.

An egg/larval stage of the creature, which the science-y people insist on calling a mollusk, is submerged in a vat of cold water to keep it from maturing.

What could possibly go wrong with that? Especially when there are no failsafe mechanisms?

Thoughts:

The movie contains some genuinely scary moments. The viewer can’t help but feel for the poor sailors who end up as monster fodder during the opening scenes. Where is Hollister? There’s his ‘chute. He can’t be far. Johnson jumps in the water after him, and then Johnson’s gone.

The monster is goofy-looking, but its shadow is scare-the-bejesus-out-of-you material.

To my surprise, one scene reminded me of Jaws. After a fight with her mother, one character, Jody Simms (Barbara Darrow), takes off to the beach—after it’s been closed, naughty girl—to go swimming with her boyfriend, of whom her mother disapproves. She is suddenly swimming by herself. Something pulls her under. There are no ominous alternating two-note bass note march of death warning her she’s going be munched, of course.

The big flaw in this flick is that it is a bit slow and complicated. It involved a lot of people. There is some comedic relief with the introduction of eccentric characters. The title doesn’t fit the movie, either. The monster is a danger, but he’s just doing his monster thing. Bummer that he finds humans tasty. He’s not trying to take over the world.

The cynical part of me can’t help but note the irony: the “mollusk” is a disaster released when water from the Salton Sea (an artificial lake) awakens dormant monsters. The Salton Sea, regarded as a resort in the 50s and 60s, became a real-life environmental disaster. How aware of that the people making the movie were, I can’t say.

Overall, I enjoyed this movie. There are scary moments, goofy-looking monsters and all. Not everything that the trailer shows happened in the movie.

Unfortunately, the only places I could find it for streaming were subscription services.



Title: The Monster That Challenged the World (1957)

Directed by
Arnold Laven

Writing Credits
David Duncan…(story)
Pat Fielder…(screenplay)

Cast (in credits order)
Tim Holt…Lt. Cmdr. John “Twill” Twillinger
Audrey Dalton…Gail MacKenzie
Hans Conried…Dr. Jess Rogers
Barbara Darrow…Jody Simms
Max Showalter…Dr. Tad Johns (as Casey Adams)

Released: 1957
Length: 1 hour, 24 minutes

Review of “The Evil of Frankenstein” (1964)

trailer from YouTube

Our Saturday night pizza and bad movie night resumes. This one catches Baron Frankenstein late in his career. He’s been run out of town, lost his creation, and is ready for a comeback. Can’t keep a good mad scientist down.

Plot:

A grieving middle-aged couple leaves their humble home to find a priest. They don’t notice the man (Tony Arpino) lurking in the woods outside. He’s not after them. While their young daughter walks through the dark house, and their recently deceased adult son lies with a crucifix on his chest, the man opens a window and drags the corpse through it. The little girl screams and flees through the woods, briefly meeting a silently sinister, well-dressed man (Peter Cushing), Baron Frankenstein. She keeps fleeing.

The body snatcher knocks on a door, where he’s admitted. Inside, the viewer hears the thumping of various scientific equipment. Beating organs hang suspended in jars. The body snatcher shows his curiosity about the goings-on, but Hans (Sandor Elès), the Baron’s assistant, pays him off and sends him on his way. Over the titles and some dramatic music, the Baron cuts out the corpse’s heart.

The bereaved couple and the little girl have not been idle but have summoned the priest, who then comes to the Baron’s lab and threatens the Baron, smashing some of his equipment. The Baron and Hans take off.

The Baron returns to his hometown of Karlstaad, intending to sell the furnishings of his chateau to buy more lab equipment. Ten years earlier, the authorities ran him out for assaulting a police officer and crimes against God.

They find a fair going on in the village. They also find the Baron’s chateau has been trashed.

The Baron and Hans have to return to the village for dinner. Until the police break up the show, a hypnotist (Peter Woodthorpe) calls our heroes up onto his stage. After attracting attention to himself, the Baron takes to the hills. It’s the only way out of the village. Of course, a storm overtakes them, but a deaf and mute woman (Katy Wild), seen earlier at the fair, comes to their rescue and shows them a shelter in caves in the mountainside. And guess what they find in those caves.

Thoughts:

From the lab where the Baron cuts out a heart to music in the beginning to the flashback of his creation of the monster before the good citizens of Karlstaad sent him packing, the sets in this flick are all elaborate and make all the appropriate buzzing and hums. How very cool. Some have more in common with Buck Rogers than the old Universal monsters. A dome opens with a probe reaching into the sky to attract lightning.

The monster (Kiwi Kingston) is not the traditional, green-skinned monster (copyright issues) but a clay-faced monstrosity that would give anyone nightmares. Peter Cushing is a great Frankenstein, a cold-blooded evil scientist who sees value only in his research and proving his theories about the origin of life. And he’s pretty pissed at the self-satisfied “Burgomaster” (David Hutcheson), who somehow ended up with a lot of loot from the Frankenstein chateau.

The Baron doesn’t count on the hypnotist coming into the picture as the one who can control the monster and thus control him.

While I would hardly call this a work of art, this scored high for me on the entertainment value. And the melodrama! The only thing missing was a burning windmill at the end.

I know these things are not everyone’s cup of tea, but if you enjoy monster movies, you should find this one fun.

Unfortunately, it’s not available for streaming for free. It can be rented or bought on YouTube and the usual places.



Title: The Evil of Frankenstein (1964)

Directed by
Freddie Francis…(directed by)

Writing Credits
Anthony Hinds…(screenplay) (as John Elder)

Cast (in credits order)
Peter Cushing…Baron Frankenstein
Peter Woodthorpe…Zoltan
Duncan Lamont…Chief of Police
Sandor Elès…Hans (as Sandor Eles)
Katy Wild…Beggar Girl

Released: 1964
Length: 1 hour, 24 minutes

Review of “The Invisible Ray” (1935)

trailer from YouTube

This is our latest Saturday pizza and bad movie entry. I knew it was an oldie just hearing the dramatic music scored by Franz Waxman. The flick was a classic mix of science fiction and horror I’d never heard of before. The print and audio were nice and clear, though I didn’t notice a note as to whether the film had been restored.

Plot:

Dr. Janos Rukh (Boris Karloff) has invited two imminent scientists up to his hilltop home/mad scientist lair to demonstrate a newfangled telescope he’s developed, one that captures light from earth hundreds of thousands of years ago, and projects on a planetarium dome.

Arriving are the skeptical Sir Francis Stevens (Walter Kingsford) and Dr. Felix Benet (Bela Lugosi). Dr. Rukh’s much younger wife, Diane (Frances Drake), and his mother (Violet Kemble Cooper) welcome them. Sir Francis brings his wife, Lady Arabella (Beulah Bondi), and her nephew, the charming Ronald Drake (Frank Lawton). Ronald makes doe eyes at Diane.

Dude, she’s pretty, but, you know, she’s married—to your host!

The group assembles in Dr. Rukh’s lab. After the appropriate lights flash and buzzers buzz, they watch an ancient meteorite crash into Africa somewhere around modern-day Namibia—my best guess. Dr. Rukh is convinced the meteorite contains a new element. There are congratulations all around and the guests invite Dr. Rukh to join them on their expedition to Nigeria—a fair hike from Namibia.

Mother Rukh warns her son not to go to Africa because he will not find happiness there.

Thanks to help from locals, the expedition successfully finds the ancient meteorite and the new element, dubbed “radium-X.” Rukh harvests some secretly and finds his skin glows in the dark. After he pats a dog, it drops dead with a glowing handprint in its fur. Rukh concludes he’s been poisoned and seeks help in secret from Benet. Benet whips up a serum that controls but does not cure the poisoning. Rukh must continue to inject himself with it at regular intervals.

Back in Europe, Rukh realizes that radium-x is also something of a cure-all and uses it to heal his mother’s blindness. Diane has left him and is working for Lady Arabella. Rukh claims to accept that, but—

Dr. Benet has set up shop in Paris, also using the radium-x to cure various grateful patients. Rukh claims the invention and discovery should be his. He feels betrayed and sets out to kill all those on the expedition he feels have not given him his due.

Thoughts:

This movie gives the reader a lot to enjoy. The elaborate sets and mattes are nicely done. The dialogue is a bit overdone. The science is silly, even for 1935. But it’s nice to see Bela Lugosi playing a good guy for a change. Karloff may ham it up a bit, especially when going nuts, but this is part of the mad scientist schtick.

Speaking of 1935, when black actors were maids and chauffeurs, the black actors in this film are “native” Africans in loincloths who say things like (of a messenger), “Da boy run fast,” and “Yes, boss?”

Things play out to their inevitable end with few surprises, though the few that show up are nice. And the special effects, while they hardly hold up to present expectations, are plenty and decent for the time.

This movie is not great or particularly good, but it is enjoyable. It meets the fun criterion. I liked it, warts and all.

Unfortunately, I could not find this flick available for streaming. I’d suggest trying a library if you’re interested in seeing it.



Title: The Invisible Ray (1935)

Directed by
Lambert Hillyer

Writing Credits

John Colton…(screenplay)
Howard Higgin…(original story) &
Douglas Hodges…(original story)

Cast (in credits order)
Boris Karloff…Dr. Janos Rukh (as Karloff)
Bela Lugosi…Dr. Felix Benet
Frances Drake…Diana Rukh
Frank Lawton…Ronald Drake
Violet Kemble Cooper…Mother Rukh

Released: 1936
Length: 1 hour, 20 minutes

Review of “Harbour Street” by Ann Cleeves

from Goodreads

Plot:

Detective Joe Ashworth is on the Metro, bringing his daughter Jessie home from a school program. The train is crowded because of the holidays. Joe noticed a couple necking. A well-dressed elderly lady boards, and Joe wonders why someone with money didn’t take a taxi.

Bad weather stops the train, and the passengers exit to busses. Jessie notices the well-dressed elderly isn’t moving. Believing she may have fallen asleep, Jessie approaches her to let her know they have to leave. Unfortunately, the older woman has been stabbed to death.

No one—not even Joe—noticed who might have killed the woman.

The police identify the victim as Margaret Krukowski who lived at a guest house on Harbour Street in the small town of Mardle run by Kate Dewer. Margaret was involved in an array of charity work, including a shelter for homeless women. Who would want to kill someone like her?

DI Vera Stanhope, Joe’s boss, arrives at Mardle trying to find everything about Margaret, convinced that understanding the background of the intensely private woman will lead to her killer. This proves difficult because people around her talk little of what they do know. Then, another murder occurs.

Thoughts:

This is the sixth in the Vera Stanhope series. Vera is an overweight woman of a certain age, whose late father used to engage in questionable activities, especially those involving protected birds. She routinely scolds those working for her, though Joe is her favorite protégé.

The setting is in northeastern England, and the book uses some dialect. Children are “bairns,” for example. This should not cause confusion for American readers, however, because the meaning is obvious from context.

One enjoyable thing about the books is that each character is drawn fully. The reader can see, hear, and often understand them by the end of the book. This adds a richness to the reading experience that many murder mysteries lack.

The mystery itself was not guessable—at least not to me. As often happens with Cleeves’ books, there are layers of generational history and small-town connections to unravel before anything makes sense.

Sadness comes across in events not connected to the murders. It’s as if sadness is part of the human condition.

I liked this book. If you are a Vera Stanhope, an Ann Cleeves, or a murder mystery fan, you should find this enjoyable.



Title: Harbour Street: Vera Stanhope #6
Author: Ann Cleeves
First published: January 16, 2014

Review of “How to Sell a Haunted House” by Grady Hendrix

image from Goodreads

This New York Times Bestseller by horror writer Grady Hendrix mixes horror, grief, and family trauma with camp. According to my exhaustive—or exhausting—reading of reviews on Goodreads, most people either love it or think it’s the stupidest thing they’ve ever read. I fall somewhere between.


Plot:

Louise Joyner returns home to Charleston after her parents die in a car accident. She dreads returning home, but she looks forward to seeing family—some of them. Her brother Mark is not among those she wants to see, but she has little choice. Mark was their mother’s favorite—he had everything handed to him, whereas Louise had to work for everything. They paid for Mark to go to Boston University. When he dropped out under mirky circumstances, they let him come home. Her parents bought wood for a deck Mark promised to build. The wood remains piled in the backyard.

The house itself gives Louise pause. Of course, there are her mother’s many dolls and the puppets she handmade for her puppet ministry. She finds a hammer on the kitchen table. The entrance to the attic has been hastily boarded up. Why would her parents do that?

Mark has hired a de-cluttering service to empty their parents’ house without consulting Louise because Louise hung up on him. Louise immediately objects. The owner of the service, unwilling to get in the middle of a family argument, dismisses his workers and goes home. Louise and Mark continue fighting.

But the puppets—

Thoughts:

In some spots, the author was having fun. Fellow puppeteers attended the memorial for Louise and Mark’s parents in costume. Louise is appalled, but the family congratulates Mark on his arrangements, telling him it’s what their parents would have wanted.

When Louise later hears noises in the house, she at first puts them down to squirrels in the attics. That’s why her father blocked the attic entrance, right?

In addition to the absurd, Hendrix shows the reader absurd violence. The puppets beat Louise. Taxidermized squirrels from a creche (which is gross and weird) attack her. She wallops them with a tennis racket and throws them in a garbage can.

What happens to Louise pales in comparison to what Marks undergoes.

Further menace appears, threatening Louise’s five-year-old daughter, Poppy. This struck me as sad, but through Poppy’s danger, Louise stands up to her family and learns an ancient family secret.

This is not a book for everyone. I enjoyed it. I could have done without some of the gory parts. The characters are flawed but sympathetic. Even the slacker Mark turns out to have more depth than a simple spoiled never-do-well.


Title: How to Sell a Haunted House
Author: Grady Hendrix
First published: January 17, 2023

Review of “The Black Cat” (1941)

trailer from YouTube

Our last pizza and bad movie night of the year! We watched the flick with a black cat snoozing on the couch on his bed between us—after we finished the pizza. Unfortunately, the little guy can’t be trusted around pizza.

Siren guarding the Christmas tree.

The Plot:

Elderly, infirm Henrietta Winslow (Cecilia Loftus) has called her family together to let them know the contents of her will. The news that the family has come together has also drawn a realtor, A. Gilmore Smith (Broderick Crawford), an acquaintance of Mrs. Winslow’s granddaughter Elaine Winslow (Anne Gwynne), and an antiques dealer, Mr. Penny (Hugh Herbert).

The groundskeeper (Bela Lugosi) tells them to leave their car outside the grounds. Since a car killed one of her (many) cats, Mrs. Winslow doesn’t allow cars on the grounds. The elderly woman’s caretaker, Abigail Doone (Gale Sondergaard), refuses to let Mr. Smith and Mr. Penny into the house, so they go around to a back entrance.

Mr. Smith is allergic to Mrs. Winslow’s small herd of cats and sneezes often. Mr. Penny chuckles to himself a lot, making high-pitched “hoo-hoo” sounds. Mr. Smith’s sneezing is far less annoying.

Mr. Smtih’s sneezing gives them away. They are soon ushered into the room where Mrs. Winslow hasn’t finished reading her will. She sits in her wheelchair with a Siamese kitten in her lap who plays with the papers she’s holding. The heirs seem content with their expected windfalls, except for Mrs. Winslow’s son-in-law, Montague Hartley (Basil Rathbone), who receives a mere $10,000. As it turns out, he has some heavy debts.

Later, Mrs. Winslow takes an unfortunate cat to the crematorium on the grounds. Many urns line the shelves. A statue of a black cat moves on its base, revealing the entrance to a secret passageway. Mrs. Winslow knows the person who comes but is surprised. She then screams in terror.

Her family finds her dead, stabbed with a knitting needle. Poor Grandma must have fallen and hurt herself. How tragic! How unlike murder!

Thoughts:

While Edgar Allen Poe is mentioned in the credits, this movie bears little resemblance to his short story of the same name. The two share creepiness—Mrs. Winslow’s cat crematorium and shrine, where she plans for her earthly remains to be entombed—are just one example. On the other hand, given her greedy family, I can understand why she prefers the company of her cats.

When it becomes apparent that Mrs. Winslow’s death was no accident (ya think?), Mr. Smith tries to determine who is responsible. Contacting the authorities is out of the question. Someone has cut the phone wires, and the bridge to town has washed away in the storm.

Many stock threats appear in the movie: a hand reaches out from behind a drape and empties something into Mrs. Winslow’s milk. Mr. Smith, on the hunt for the will, receives a stunning punch in the face from behind a drape. Sinister-looking groundskeeper Eduardo hangs around by windows, listening to conversations no one means him to hear.

Mr. Smith decides to find out who killed Mrs. Winslow. Unfortunately for him, he goes off half-cocked, annoying the family and making himself look like a fool in front of the girl he’s trying to impress, Elaine.

In the meantime, Mr. Penny is evaluating the various furnishings, “antiquing” them by damaging and destroying them. He also stumbles across a series of secret passages, not realizing what they are, and ends up in the bedroom of the sourpuss maid, Abigail. He finds her lying in a footlocker with a black cat…

Abigail recovers.

Much of the movie reminded me of an even more ancient flick, The Old Dark House.

In true murder mystery fashion, nearly everyone involved is not what the viewer expects. I did not guess the bad’un. While I liked it, I have to admit that many things are unlikely, and silly, and might try the patience of the average viewer. It can work if you know what you’re getting into and don’t take it too seriously.

The movie can be watched here.

Happy 2024 to all.





Title: The Black Cat (1941)


Directed by
Albert S. Rogell

Writing Credits
Robert Lees…(screenplay) and
Frederic I. Rinaldo…(screenplay) (as Fred Rinaldo) and
Eric Taylor…(screenplay) and
Robert Neville…(screenplay)
Edgar Allan Poe…(suggested by story by)

Cast (in credits order)
Basil Rathbone…Montague Hartley
Hugh Herbert…Mr. Penny
Broderick Crawford…A. Gilmore Smith
Bela Lugosi…Eduardo Vidos
Anne Gwynne…Elaine Winslow

Released: 1941
Length: 1 hour, 10 minutes

Review of “Now They Call me Infidel: Why I Renounced Jihad For America, Israel, and the War on Terror” by Nonie Darwish

image from goodreads

The Stuff:

This memoir was written by Egyptian-American Nonie Darwish who spent her childhood in Gaza. Her father, Colonel Mustafa Hafez, served as commander of the Egyptian Army Intelligence in Gaza, then under military control of Egypt. Hafez was assassinated by the Israeli Defense Forces. Darwish’s brother was wounded in the same attack. The surviving family returned to Egypt. Darwish’s father was revered as a shahid, a martyr.

According to Darwish, her education and upbringing included a constant indoctrination of hatred against Israel and all Jewish people, though she admits she doubts she had ever met anyone Jewish.

She notes that while she came from a privileged background, most Egyptians live in dire poverty. Later, she married and immigrated to the United States. The move changed her perspective on many things. She met Jewish neighbors, who turned out to be something other than the slavering demons her upbringing taught her to expect.

She later becomes a Christian, a political conservative, a writer, and a speaker.

Thoughts:

Darwish writes in an easy style, albeit the text might have benefited from another pass through the typewriter. Picky me.

Despite the tragic loss of her father, she seems to have had a happy childhood surrounded by family. The reader understands how much she misses Egypt and Gaza. The author offers poignant memories and cute anecdotes, all the things that breathe life into a memoir.

As the daughter and niece of immigrants myself, I am fully in sympathy with her immigrant experience, and her longing for home while discovering new conventions in the United States.

However, her view of the world is simplistic. Islam is oppressive, teaches its adherents to hate, and leads to violence; the West is liberating—nothing in between. She touts the personal liberties offered in the United States without a glance at its history of racism. None of the Muslims I’ve known or worked with offered a threat to life or limb. The point is, I don’t see things as black and white as portrayed in the book.

It would be interesting to see what she has to say about the current Israel-Hamas War, with both sides responsible for many civilian deaths and committing what certainly appear to me to be atrocities. She was the founder of a group called Arabs for Israel and a director of an organization called Former Muslims United. The Southern Poverty Law Center has declared some of the groups and their affiliated groups to be anti-Arab and Islamophobic.

While she does come down hard on Islam in the book, she calls for its reform, particularly concerning the treatment of women. She also speaks of mosques as places of recruitment for terrorists—something that just ain’t so any more than a church recruits abortion clinic bombers.

Darwish’s story is interesting. The book is a quick read, but I can’t buy her worldview or politics.


Title: Now They Call me Infidel: Why I Renounced Jihad For America, Israel, and the War on Terror
Author: Nonie Darwish (b. 1949)
First published: 2006 (updated 2007)