The Arctic Giant is the fourth of seventeen animated Technicolor short films based upon the DC Comics character of Superman. This animated short was created by Fleischer Studios. The story runs nine minutes and covers Superman’s adventures in defeating a giant monster that terrorizes the city. The short depicts a Godzilla-esque scenario while predating the 1954 film by 12 years.
The story begins as the narrator tells about an Arctic Giant found frozen in perfect condition millions of years ago in Siberia. The dinosaur-like monster is shipped to the Museum of Natural Science in Metropolis, where it is identified as a Tyrannosaurus and is kept frozen using special refrigeration equipment. (ref. Wikipedia)
Release date February 27, 1942
Running time 9 minutes (one reel)
Production Company Fleischer Studios
Distributed by Paramount Pictures
Animation by Willard Bowsky & Reuben Grossman
Color Process: Technicolor
Starring Bud Collyer, Joan Alexander, Jackson Beck, Julian Noa
Directed by Dave Fleischer
Story by Bill Turner & Tedd Pierce
Based on Superman by Jerry Siegel & Joe Shuster
Produced by Max Fleischer
Music by Sammy Timberg
Reefer Madness (originally made as Tell Your Children and sometimes titled The Burning Question, Dope Addict, Doped Youth, and Love Madness) is a 1936 American exploitation film about drugs, revolving around the melodramatic events that ensue when high school students are lured by pushers to try marijuana
Upon trying it, they become addicted, eventually leading them to become involved in various crimes such as a hit and run accident, manslaughter, murder, conspiracy to murder and attempted rape. While all this is happening, they suffer hallucinations, descend into insanity, associate with organized crime and (in one character’s case) commit suicide. The film was directed by Louis J. Gasnier and featured a cast of mainly little-known actors.
Originally financed by a church group under the title Tell Your Children, the film was intended to be shown to parents as a morality tale attempting to teach them about the dangers of cannabis use.Soon after the film was shot, it was purchased by producer Dwain Esper, who re-cut the film for distribution on the exploitation film circuit, exploiting vulgar interest while escaping censorship under the guise of moral guidance, beginning in 1938–1939 through the 1940s and 1950s.
The film was “rediscovered” in the early 1970s and gained new life as an unintentional satire among advocates of cannabis policy reform. Critics have called it one of the worst films ever made and has gained a cult following within cannabis culture. Today, it is in the public domain in the United States.
Directed by Louis J. Gasnier
Screenplay by Arthur Hoerl
Story by Lawrence Meade
Produced by George Hirliman & Dwain Esper
Duration: 1 hour, 8 minutes and 17 seconds
Starring
Dorothy Short
Kenneth Craig
Lillian Miles
Dave O’Brien
Thelma White
Warren McCollum
Carleton Young
Cinematography Jack Greenhalgh
Edited by Carl Pierson
Music by Abe Meyer
Production Company G&H Productions
Distributed by Motion Picture Ventures
Release dates 1936
Running time 68 minutes
Country United States
Language English
“If you want a good smoke, try one of these.”
In 1936 or 1938, Tell Your Children was financed and made by a church group and intended to be shown to parents as a morality tale attempting to teach them about the dangers of cannabis use. It was originally produced by George Hirliman; however, some time after the film was made, it was purchased by exploitation filmmaker Dwain Esper, who inserted salacious shots. In 1938 or 1939, Esper began distributing it on the exploitation circuit where it was originally released in at least four territories, each with their own title for the film: the first territory to screen it was the South, where it went by Tell Your Children (1938 or 1939).
West of Denver, Colorado, the film was generally known as Doped Youth (1940). In New England, it was known as Reefer Madness (1940 or 1947), while in the Pennsylvania/West Virginia territory it was called The Burning Question (1940). The film was then screened all over the country during the 1940s under these various titles and Albert Dezel of Detroit eventually bought all rights in 1951 for use in roadshow screenings throughout the 1950s.
Such education-exploitation films were common in the years following adoption of the stricter version of the Production Code in 1934. Other films included Esper’s own earlier Marihuana (1936) and Elmer Clifton’s Assassin of Youth (1937) and the subject of cannabis was particularly popular in the hysteria surrounding Anslinger’s 1937 Marihuana Tax Act, a year after Reefer Madness. (ref. Wikipedia)
Mary Henry (Hilligoss) is riding in a car with two other young women when some men challenge them to a drag race. As they speed across a bridge, the women’s car plunges over the side into the river. The police spend three hours dragging the murky, fast-running water without success. Mary miraculously surfaces, but she cannot remember how she survived.
Mary then drives to Utah, where she has been hired as a church organist. At one point, she can get nothing on her car radio but strange organ music. She passes a large, abandoned pavilion sitting all by itself on the shores of the Great Salt Lake; it seems to beckon to her in the twilight. Shortly thereafter, while she is speeding along a deserted stretch of road, a ghoulish, pasty-faced figure (billed as “The Man”, played by director Herk Harvey) replaces her lection in the passenger window and stares at her. When The Man suddenly appears in front of her, she swerves off the road. At a gas station, the attendant tells her the pavilion was first a bathhouse, then a dance hall, and finally a carnival before shutting down.
In town, Mary rents a room from Mrs. Thomas; John Linden, the only other lodger, wants to become better acquainted with the blonde newcomer, but she is not interested. That night, she becomes upset when she sees The Man downstairs in the large house and retreats to her room. Mrs. Thomas, who brings her some food, says she did not pass anyone.
Soon, Mary begins experiencing terrifying interludes when she becomes invisible and inaudible to the rest of the world, as if she simply is not there. When The Man appears briefly in front of her in a park, she flees, right into the arms of a Dr. Samuels. He tries to help her, even as he acknowledges he is not a psychiatrist.
Her new employer, the minister (Art Ellison), is put off when she declines his suggestion of a reception to meet the congregation. When she practices for the first time, she finds herself shifting from a hymn to eerie music. In a trance, she sees The Man and others of his ilk dancing. The minister, hearing the strange music, denounces it as “profane” and insists upon her resignation.
Terrified of being alone, Mary agrees to go out on a date with Linden. When they return home, he smooth-talks his way into her room, but when she sees The Man in the mirror, she becomes upset and tries to tell Linden what has been happening to her. He leaves, believing she is losing her mind.
After talking with Samuels again, Mary believes she has to go to the pavilion. There, however, she finds no answers.
Other ghouls join The Man. Mary tries frantically to escape, at one point boarding a bus to leave town, only to find that all the passengers are ghouls. Then she wakes up, showing that she dreamed this sequence at least. In the end, she is drawn back to the pavilion, where she finds her tormenters dancing. A pale version of herself is paired with The Man. When she runs away, they chase her out onto the beach. She collapses, and they close in.
The minister, the doctor and the police are baffled. Her bare footprints in the sand (the only ones) end abruptly, but there is no trace of her.
In the final scene, the car is finally located and pulled from the river. Mary’s body is in the front seat alongside those of the other two girls.
In the Florida Everglades, a pair of larger-than-human, intelligent Leech are living in an underwater cave. They begin dragging local people down to their cave where they hold them prisoner and slowly drain them of blood.
One of the first people to be so taken is the local vixen, Liz Walker, played by Yvette Vickers. After a couple of gratuitous displays of flesh (Vickers appeared as the centerfold in the July 1959 issue of Playboy), and some running around on her husband (Bruno VeSota), Liz finds herself a prisoner of the leeches along with her current paramour. Game warden Steve Benton (Ken Clark (actor)) sets out to investigate their disappearance. Aided by his girlfriend Nan Grayson (Jan Sheppard) and her father, Doc Grayson, he discovers the cavern.
When the villagers of Kleinschloss start dying of blood loss, the town fathers suspect a resurgence of vampirism, however police inspector Karl Breettschneider remains skeptical. Scientist Dr. Otto von Niemann, who cares for the victims, visits a patient who was attacked by a bat, Martha Mueller. Martha is visited by a mentally challenged man
named Herman, who claims he likes bats because they are soft, like cats and nice. On the Doctors journey home, he meets Krinen, one of the townsfolk, who claims to have been attacked by the vampire in the form of a bat, but withheld his story from the town in order to not spread fear. Dr. von Niemann encourages Kringen to tell the townsfolk of his story. Kringen becomes suspicious that mentally-challenged Herman Glieb may be the vampire due to his obsession with bats. Herman lives with bats and collects them off the street.
Dr von Niemann returns to his home, which also houses Breettschneider’s love Ruth Bertin, hypochondriac Gussie Schnappmann, and servants Emil Borst, and Gorgiana. Fear of the vampire and suspicion of Glieb quickly spreads around the town, and people start fearing him. Ms Mueller is killed that night. The analyses of Dr. von Niemann and another doctor, Dr. Haupt, conclude that the death is the same as all of the previous deaths; blood loss, with two punctures in the neck caused by needle sharp teeth. Gleib enters the examination and upon seeing the dead body, runs away screaming.
Next morning, Glieb enters Dr. Von Niemann’s garden, where Dr. Von Niemann, Breettschneider, and Bertin are discussing vampires inside the house. The town fathers enter the house and announce that Kringen is dead and Gleib missing. An angry mob hunts down Gleib and chases him through the countryside and into a cave, where he falls to his death. That night, Dr. von Niemann is seen telepathically controlling Emil Borst, as he picks up sleeping Gorgiana and takes her down to Dr. von Niemann’s laboratory, where a strange organism is seen. They then drain her blood from her neck. Schnappmann then discovers Gorgiana’s body in her bed. Dr. Von Niemann and Breettschneider investigate and find Ms Mueller’s crucifix, which Glieb handled the night Dr. von Niemann visited her. Breettschneider is becoming more convinced of the presence of vampires in the village as no other plausible explanations for the deaths can be found. As Glieb was seen in the garden that morning, the two conclude he is guilty.
Upon hearing of Glieb’s death, however, Breettschneider’s conviction is erased. Dr. von Niemann tells Breettschneider to go home and take sleeping pills, but gives him poison instead, intent on draining his blood. Bertin discovers Dr. von Niemann telepathically controlling Borst, who is at Breettschneider’s house. It is revealed that Dr. von Niemann has created life, and is using the blood to fuel his organism. He ties Bertin up in his lab. Borst supposedly enters with Breettschneider’s body on a trolley. Dr. von Niemann walks over to Borst, who is revealed to be Breettschneider (who didn’t take the pills) in costume, with the real Borst on the trolley. Breettschneider pulls a gun on Dr. von Niemann, and walks over to untie Bertin. Dr. von Niemann then wrestles Breettschneider, who drops the gun. As the two fight, Borst picks up the gun and shoots Dr. von Niemann.
Fay Wray and Lionel Atwill had been in the successful film Doctor X (film) the previous year and had already wrapped up work on Mystery of the Wax Museum for Warner Bros. This was quite a large scale release and would have a lengthy post-production process. Seeing a chance to exploit all the advance press, poverty row studio Majestic Pictures Inc. contracted Wray and Atwill for their own “quickie” horror film, rushing The Vampire Bat into production and releasing it in January 1933.
Majestic Pictures had lower overheads than the larger studios, who were struggling at the time during the Great Depression. Part of the reason that The Vampire Bat looked almost as good as any Universal Studios Pictures horror film is because Majestic leased James Whale’s castoffs, the beautiful “German Village” backlot sets left over from Frankenstein (1931 film) (1931) and the interior sets from his film The Old Dark House (1932), plus some location shooting at Bronson Caves.
Completing the illusion that this was a film from a much bigger studio, Majestic hired actor Dwight Frye to populate scenes with Wray and Atwill. A stock musical theme by Charles Dunworth, “Stealthy Footsteps”, was used to accompany the opening credits. The Vampire Bat ruse worked well for Majestic, which was able to rush the quickie film into theaters less than a month before Warner’s release of Mystery of the Wax Museum. According to The Film Daily of January 10, 1933, the film’s running time was 63 minutes, like most extant prints.
In this short, Sindbad the Sailor (presumably Bluto playing a “role”) proclaims himself, in song, to be the greatest sailor, adventurer and lover in the world and “the most remarkable, extraordinary fellow,” a claim which is challenged by Popeye’s arrival
on his island with Olive Oyl and J. Wellington Wimpy in tow. Sindbad orders his huge Roc (mythology), Rokh, to kidnap Popeye’s girlfriend, Olive Oyl, and wreck Popeye’s ship, forcing him and Wimpy to swim to shore. Sinbad relishes making Olive his trophy wife, which is interrupted by Popeye’s arrival. Sinbad then challenges the one-eyed sailor to a series of obstacles to prove his greatness, including fighting Rokh, a two-headed giant (mythology) named Boola (an apparent parody erence to The Three Stooges), and Sindbad himself. Popeye makes short work of the bird and the giant, but Sindbad almost gets the best of him until Popeye produces his can of spinach, which gives him the power to soundly defeat Sindbad and proclaim himself “the most remarkable, extraordinary fella.”
A subtly dark running gag features the hamburger-loving Wimpy chasing after a duck on the island with a meat grinder, with the intention of grinding it up so that he can fry it into his favorite dish, but the duck not only escapes, but also snatches away Wimpy’s last burger in retaliation when he gives up. Many of the scenes in this short feature make use of the Fleischer’s Multiplane camera process, which used modeled sets to create 3D backgrounds for the cartoon.
This short was the first of the three Popeye Color Specials, which were, at over sixteen minutes each, three times as long as a regular Popeye cartoon, and were often billed in theatres alongside or above the main feature. Popeye the Sailor Meets Sindbad the Sailor was nominated for the 1936 Academy Award for Animated Short Film, which it lost to Walt Disney’s Silly Symphony The Country Cousin. Footage from this short was later used in the 1952 Famous Studios Popeye cartoon Big Bad Sindbad, in which Popeye relates the story of his encounter with Sindbad to his 3 nephews.
Today, this short and the other two Popeye Color Specials, Popeye the Sailor Meets Ali Baba’s Forty Thieves, and Aladdin and His Wonderful Lamp (both of which were also adapted from a story featured in One Thousand and One Nights) are in the public domain, and are widely available on home video and DVD. A fully restored version with the original Paramount Pictures mountain logo opening and closing titles is available on the Popeye the Sailor: 1933-1938, Volume 1 DVD set from Warner Bros.
Producer and special effects artist Ray Harryhausen stated in his Fantasy Film Scrapbook that Popeye the Sailor Meets Sindbad the Sailor was a major influence on his production of The 7th Voyage of Sinbad.
Popeye the Sailor Meets Sindbad the Sailor has been deemed “culturally significant” by the United States Library of Congress and selected for preservation in the National Film Registry. In 1994, the film was voted #17 of the 50 Greatest Cartoons of all time by members of the animation field, making it the highest ranked Fleischer Studios cartoon in the book.
Eccentric millionaire Frederick Loren (Vincent Price) invites five people to a “party” he is throwing for his fourth wife, Annabelle (Carol Ohmart), in an allegedly haunted house
he has rented, promising to give them each $10,000 with the stipulation that they must stay the entire night in the house after the doors are locked at midnight. The five guests are test pilot Lance Schroeder (Richard Long (actor)), newspaper columnist Ruth Bridges (Julie Mitchum), psychiatrist Dr. David Trent (Alan Marshal (actor)) who specializes in hysteria, Nora Manning (Carolyn Craig), who works for one of Loren’s companies, and the house’s owner Watson Pritchard (Elisha Cook Jr.). Pritchard disapproves of Loren’s use of the house for his “party,” making it unclear how Loren acquired access to the house in the first place.
Desert Phantom released in 1936 is a western feature film starring Mack Brown. Billy Donovan arrives looking for his sister’s killer. When he hires on at the Halloran ranch where the mysterious Phantom has killed all the hands, it’s not long before the Phantom shoots him.
Explorer Paul Hoefler leads a safari into central Africa and what was then called the Belgian Congo, in the regions inhabited by the Wassara and the famous Ubangi tribes.
