‘5 playgirls walked innocently into his arms… only to meet the devil in the flesh!’

The Playgirls and the Vampire (Italian: L’ultima preda del vampiro – translation: “The Vampire’s Last Prey”) is a 1960 Italian horror film written and directed by Piero Regnoli. It stars Lyla Rocco, Walter Brandi (The Vampire and the Ballerina; Bloody Pit of Horror), Maria Giovannini, and Alfredo Rizzo (The Bloodsucker Leads the Dance).

Regnoli was a scriptwriter who also co-wrote Riccardo Freda’s I Vampiri, Nightmare City and Demonia. The 1963 US release was by Richard Gordon (Tower of Evil; Horror Hospital). A shortened American TV version was retitled Curse of the Vampire.

Plot teaser:

A feckless troupe of European exotic dancers and their piano player led by a bumbling manager stumble upon a castle after encountering a ferocious storm.

The castle, inhabited by Count Gabor, his assistant and a vampire, is little refuge for the traveling showgirls as they slowly fall under the spell of the un-dead demon.

Vera, one of the reluctant dancers and the living doppelgänger of the vampire’s dead wife, Margherita Kernassy—who has been dead nearly 200 years—becomes the object of affection for both Count Gabor and the vampire…

Buy on DVD from Amazon.co.uk | Amazon.com

Reviews:

The pseudo-scientific approach to curing vampirism is intriguing, the playful ‘comedy’ is self-deprecating and the “playgirls” are a lively distraction but, alas, Walter Brandi is a weak evil count and Aldo Piga’s score recalls the silent era rather than the 1960s. That said, there is an undoubted eroticism to Regnoli’s film that predates Rollin, Franco, Hammer and countless other vampiric ventures.

Adrian J Smith, Horrorpedia

“This is a fairly low-level mystery that plods through with some erotic undertones (for the time period anyway), minimal vampirism and only cheesecake variety gore. I liked it despite all of those shortcomings.” A Feast of the Ires

” … plodding and mediocre. On the plus side, it is very atmospherically photographed by Aldo Greci. The film also offers two nice scenes at the climax. In one, the now vampiric Katia comes toward the camera to claim a victim, only to be staked by her male vampire (Brandi in a dual role) counterpart.

The other notable scene is the male vampire’s staking, which leads to a dissolve of images as the 200-year-old vampire crumbles to a skeleton and then fades away.” Dennis Fischer, Cinefantastique

“Playgirls’ Regnoli only churned out five minor period films as a director before settling into a career as a screenwriter on zombie films like City of the Walking Dead and Burial Ground. He does a competent job here and probably could have been a notable player in the spooky-sexy European sweepstakes of the ’60s and ’70s had he chosen to pursue it. Anybody who could deliver naked girls with big fangs con gusto like this definitely deserved to have a longer career.” Mondo Digital

Cast:

• Walter Brandi as Count Gabor Kernassy / The Vampire
• Lyla Rocco as Vera
• Maria Giovannini as Katia, the victim
• Alfredo Rizzo as Lucas, the manager
• Marisa Quattrini
• Leonardo Botta as Fernand
• Antoine Nicos
• Corinne Fontaine
• Tilde Damiani
• Erika Dicenta
• Enrico Salvatore

Choice dialogue:

“The strength of love is miraculous, if you can believe it!”

Wikipedia | IMDb | Image credits: Chicago Ghouls

The Frozen Dead is a 1966 British science fiction horror film written, produced and directed by Herbert J. Leder (It!; Doomsday Machine) and starring Dana Andrews (Night of the Demon), Anna Palk (The Skull; The Nightcomers; Tower of Evil) and Philip Gilbert (Die! Die! My Darling!). Edward Fox (Skullduggery; The Cat and the Canary; Lost in Space) has an early role as Prisoner #3.

Hammer horror regulars Don Banks (The Evil of Frankenstein; The Reptile; The Mummy’s Shroud) composed the strident score, whilst Scott MacGregor provided the art direction (Taste the Blood of Dracula; The Vampire Lovers; Frankenstein and the Monster from Hell).

Although shot in Eastmancolor, US distributors Warner-Seven Arts chose to release it in black and white to save money duplicating prints!

Plot teaser:

A Nazi scientist plans to revive a dozen frozen Nazi leaders…

Reviews:

“Unlike It!, where a simple premise gets madder and madder, The Frozen Dead has a grand idea but doesn’t really seem to know what to do with it. We’re only treated to one rampaging Nazi zombie (as played by Edward Fox, no less), but even he’s a bit crap. However, it’s worth noting that the “Elsa’s head in a box” scenes are incredibly effective, and almost make it worth seeking out the film by themselves. Bathed in an eerie blue light and glaring balefully at her captors, she’s the real star of the show.” British Horror Films

Buy The Frozen Dead from Amazon.co.uk | Amazon.com

“Dana Andrews is actually quite good in this mess, giving his character of Dr. Norberg some layers that went above and beyond the call of duty for a film of this caliber. Character actor Alan Tilvern plays a goofy Igor-like character who manages to spice things up by going bat-guano crazy. It’s too bad the rest of the movie didn’t give these two more to work with.” Victor Medina, Cinelinx

“The Brain That Wouldn’t Die is noteworthy for Virginia Leith’s talkative, taunting performance as that film’s body-less head. In The Frozen Dead, the honor goes to Kathleen Breck as the hapless Elsa. Her subtler, more tortured and mostly mimed performance is actually quite good, in unrealistic surroundings realistically expressing the horror of finding oneself disembodied and at the mercy of loopy scientists. A couple of (stationary matte?) effects shots showing the disembodied head are also well done. And she gets the film’s memorable last line, dialogue which, given all the absurdities that preceded it, is admirably haunting.” Stewart Galbraith IV, DVD Talk

“Seriously, folks: despite being an enjoyably bad b-movie, The Frozen Dead has a somewhat disturbing quality to it that won’t let you forget about it. But, of course, on the upside, we do get to see a wall of severed arms come to life and strangle Nazis. I mean, you can’t go wrong with that, right?” Luigi Bastardo, Cinema Sentries

“The best things about this unscary movie are the art direction and the living head which features prominently in the production.” Alan Frank, The Horror Film Handbook

Choice dialogue:

“Bury me, bury me…”

Cast:

• Dana Andrews – Dr. Norberg
• Anna Palk – Jean Norburg
• Philip Gilbert – Dr. Ted Roberts
• Kathleen Breck – Elsa Tenney
• Karel Stepanek – General Lubeck
• Basil Henson – Dr. Tirpitz
• Alan Tilvern – Karl Essen
• Anne Tirard – Mrs. Schmidt
• Edward Fox – Norburg’s Brother (Prisoner #3)
• Oliver MacGreevy – Joseph the Butler
• Tom Chatto – Inspector Witt
• John Moore – Bailey the Stationmaster
• Charles Wade – Alfie the Porter

Wikipedia | IMDb

Un vampiro para dos (“A Vampire for Two”) – also known as La mansión de los vampiros – is a 1965 Spanish comedy horror film directed by Pedro Lazaga from a screenplay by José María Palacio for Belmar Producciones Cinematográficas.

The film stars Gracita Morales, José Luis López Vázquez, Fernando Fernán Gómez, Trini Alonso, Goyo Lebrero, José Orjas, Adriano Domínguez.

Plot teaser:

Paul and Luisita, a young couple who work in the Madrid are frustrated their their schedules do not allow them to be together much. So they travel to Germany to seek other employment. The only jobs they can find is as servants at the Baron of Rossenthal, better known as the Vampire of Düsseldorf.

After a few days, the Baron’s sister, Nosferata, decides that the time has come to suck the Spaniards’ blood. However, the vampires did not realise their employees love of garlic will protect them…

Reviews:

Even without the benefit of English dubbing it is obvious that this is an unsophisticated attempt to elicit potential humour from the culture clash of Spaniards working in Germany. It doesn’t help that it takes over thirty minutes of screen time for the hapless married couple to arrive at the vampire Count’s castle or that Gracita Morales’s voice is pitched painfully high throughout. A drunken singalong accompanied by organ music has to be the film’s low point.

Adrian J Smith, Horrorpedia

” … could have yielded an interesting comedy but in this film script and direction opt for a broad farce rather than corrosive satire.” Phil Hardy (editor), The Aurum Film Encyclopedia: Horror

Watch the whole film in Spanish on veoh.com

IMDb | Plot translated from filmaffinity.com

‘See terror catch fire!’

Picture Mommy Dead is a 1966 horror film produced and directed by Bert I. Gordon (Earth vs. The Spider; Necromancy; Empire of the Ants) from a screenplay by Robert Sherman.

The film stars Don Ameche, Martha Hyer, Zsa Zsa Gabor, Susan Gordon, Maxwell Reed and Wendell Corey.

Gene Tierney was originally announced for a lead role. Then Hedy Lamarr was signed, however, she was fired when she collapsed during filming from nervous exhaustion. She was replaced by Zsa Zsa Gabor.

Plot teaser:

Teenager Susan (Susan Gordon) thinks her father (Don Ameche) killed her mother years ago. Released from an asylum, she is reunited with her father and a new stepmother, but suspicious ongoings threaten to push her over the edge…

Buy Picture Mommy Dead + Murder Mansion on DVD from Amazon.com

Reviews:

“I hate to use the word “camp” because it sounds dismissive and yet it’s kind of unavoidable here. This is 1966 though and we should remember that folks acted like hysterical lunatics in most movies back then not just in low-budget horror flicks. Obviously everything was done here sincerely and not as a joke but it is funny– especially if you imagine the characters have no idea how insane they sound and are actually trapped in a surreally overstated melodramatic dimension they can’t escape.” Kindertrauma

“It’s creepy, it’s campy and a wonderfully colorful psychosomatic romp.” The Last Drive-In

” … typical Gordon trash, enlivened by a few crude shock effects and competent performances.” Phil Hardy (editor), The Aurum Film Encyclopedia: Horror

Cast:

• Don Ameche as Edward Shelley
• Martha Hyer as Francene Shelley
• Zsa Zsa Gabor as Jessica Flagmore Shelley
• Susan Gordon as Susan Shelley
• Maxwell Reed as Anthony Flagmore, caretaker
• Wendell Corey as Lawyer Clayborn
• Signe Hasso as Sister René
• Anna Lee as Elsie Kornwald

Choice dialogue:

“The worms crawl in, the worms crawl out, in your stomach and out your mouth”

Wikipedia | IMDb

Monsters Crash the Pajama Party is a short 1965 US horror movie co-written, produced and directed by David L. Hewitt (Gallery of Horror; The Mighty Gorga). It stars Vic McGee (The Wizard of Mars), James Reason, Clara Nadel, Pauline Hillkurt.

During its original theatrical release, actors would venture out into the seats in costumes as though they were the monsters coming out of the movie screen, similar to The Tingler.

Monsters Crash the Pajama Party was released on DVD by Something Weird Video in September of 2007. The DVD was positively received due to its visually-interesting cover, extensive menus, and abundance of short horror films and clips.

Buy Monsters Crash the Pajama Party + Asylum of the Insane from Amazon.co.uk | Amazon.com

Plot teaser:

A group of teenage girls spends the night in an old dark mansion as an initiation into a college sorority. The girls all agree to the initiation due to them all not believing in ghosts. Their boyfriends begin to play spooky pranks on them with store-bought masks, which fails to frighten the girls since they had been expecting these pranks.

However, unbeknownst to the teenagers, the building is actually the headquarters for a mad scientist and his hunchbacked assistant, who are experimenting with turning humans into gorillas. The mad doctor abducts the girls, who are later rescued by the boys. The boyfriends then fight off the doctor’s henchmen, a gorilla, a werewolf, and a creature of some sort. Incensed by his monsters’ failure to re-capture any of the girls, he instructs them to blast a hole through the movie screen with a laser gun and venture out into the audience!

It is at this point during the original theatrical run of the film that actors dressed as the monsters from the movie would wander about the theatre seats to scare people, however lightly. The actors often wanted to seem comically spooky rather than actually scary.

Related: Ghost in the Invisible Bikini

Wikipedia | IMDb

The Wizard of Mars is a 1965 low budget science fiction film takeoff of The Wonderful Wizard of Oz co-written and directed by stage magician David L. Hewitt. The title character is portrayed by John Carradine, who gives a lengthy monologue as a projection near the end of the film.

The film centers on four astronauts — Steve (Roger Gentry), “Doc” (Vic McGee), Charlie (Jerry Rannow), and of course, Dorothy (Eve Bernhardt), shown aboard ship wearing Silver Shoes — who dream they are struck by a storm and encounter the Horrors of the Red Planet (one of the film’s video retitlings), and eventually follow a “Golden Road” to the Ancient City where they encounter the title character, who is the collective consciousness of all Martians.

David L. Hewitt had previously co-written the screenplay of The Time Travelers and had turned a 33-minute-long Monsters Crash the Pajama Party into part of an interactive stage show. Hewitt met a group of vending machine operators who wanted to produce films with Hewitt convincing them that science fiction had potential.

Their company American General Pictures’ first full-length film The Wizard of Mars was made using an optical printer for special effects and was filmed for $33,000 in Great Basin National Park and Fallon, Nevada. The mask of the title character was made by Don Post and reused in Space Probe Taurus. In 1988, it was misleadingly released in the USA on VHS as Alien Massacre.

Reviews:

” … my all-time favorite kitschy movie about space travel. This one has all the little extras that separate a true bad movie classic from the mere pretenders. One of those extras would be incredibly cheap special effects, some of them cadged right from the old Soviet sci-fi flick Planet of Storms, which is a lot of fun for people like me who’ve seen those same bits of footage show up in countless other bad movies.” Edward Wozniak, Balladeer’s Blog

“The film never lets the visuals or characters do the storytelling, it is always done through emotionally deprived dialogue or excessive exposition that serves no purpose. The surface of Mars is described as barren and devoid of life, which clearly it isn’t, as there is running water and a variety of trees and plant-life covering the surface. One of the most humourous scenes is when the astronauts are crossing a lake on some inflatable rafts (Really?) and are attacked by the most ridiculous looking giant centipedes that are so ridiculously fake looking it is quite hilarious.” Dane Worrallo, More Than Numbers?

“Light on action, heavy on conversation, Hewitt films require patience and tolerance from the viewer. But viewers in the right mood will enjoy the combination of dream trippy atmosphere and boyish naivety.” David Elroy Goldweber, Claws & Saucers

Choice dialogue:

“Isn’t there any place on this planet that isn’t a death trap?”

Wikipedia | IMDb

Famous Monsters of Filmland is a horror genre-specific film magazine started in 1958 by publisher James Warren and editor Forrest J Ackerman.

Famous Monsters of Filmland inspired the creation of many other horror-themed publications, including Castle of Frankenstein, Fangoria and The Monster Times.

Famous Monsters of Filmland was originally conceived as a one-shot publication by Warren and Ackerman, published in the wake of the widespread success of the package of old horror movies syndicated to American television in 1957. But the first issue, published in February 1958, was so successful that it required a second printing to fulfil public demand. The success prompted spinoff Warren magazines such as Creepy, Eerie, and Vampirella.

Famous Monsters offered brief articles, well-illustrated with publicity stills and graphic artwork, on horror movies from the silent era to the current date of publication, their stars and filmmakers. Warren and Ackerman decided to aim the text at late pre-adolescents and young teenagers. Unfortunately, in doing so, he also elected to add supposedly amusing juvenile captions to the images and thereby denigrated the horror genre for fans and its detractors.

Forrest J Ackerman promoted the memory of Lon Chaney, Sr., whose silent works were mostly beyond the accessibility of fans for most of the magazine’s life, but were a great influence on his own childhood. He also introduced film fans to science fiction fandom through direct references, first-person experiences, and adoption of fandom terms and customs. The magazine regularly published photos from King Kong (1933), including one from the film’s infamous “spider pit sequence”, featured in Issue #108 (1974) that, until Ackerman discovered a photo of a spider in the cavern setting, had never been proven definitively to have actually been filmed.

FM‘s peak years were from its first issues through the late 1960s, when the disappearance of the older films from television and the decline of talent in the imaginative film industry left it with a dearth of subject matter acceptable to both editor and fan.

Bizarrely, Warren and Ackerman created a jump in issue numbering from issue 69, which was printed in September 1970, to issue 80 in October 1970. They did this (according to their editorial in issue 80) because it brought them closer to issue 100, justifying the numerical jump because of the publishing of ten issues of the short-lived companion magazine Monster World as issues that “would have been” Famous Monsters issues. Lazily, during the 1970s, the magazine came to rely heavily on reprints of articles from the 1960s.

In November 1974 and November 1975, New York City was host to the “Famous Monsters Convention,” a fan convention centered on FM, which featured such guests as Forrest J Ackerman, Verne Langdon, James Warren, Peter Cushing, Ingrid Pitt, Barbara Leigh, Catherine Lorre, Cal Floyd, and Sam Sherman.

In the early 1980s, the magazine folded after Warren became ill and unable to carry on as publisher, and Ackerman resigned as editor in the face of the increasing disorganisation within the Warren Publishing Company. The magazine stopped publication in 1983 after a run of 191 issues.

Famous Monsters of Filmland was resurrected in 1993 by New Jersey portrait photographer and monster movie fan Ray Ferry. After finding that the Famous Monsters of Filmland title had not been “maintained” under law, Ferry filed for “intent to use” for the magazine’s trademark, unbeknownst to Ackerman or the trademark’s owner and creator, Jim Warren. Ferry, poised to restart publication of FM on a quarterly basis, offered Ackerman the position of editor-in-chief for a fee of $2,500 per issue, which he accepted. Starting at issue #200, the new Famous Monsters acquired subscribers and over-the-counter buyers who believed they would be reunited with Ackerman in print. While Ferry tried to maintain Ackerman’s style in his own writings, he apparently heavily edited and rejected contributions from the man himself.

In an effort to help Ferry finance his full-time efforts, Ackerman agreed to a reduced editor’s fee of $1,500 per issue. With four consecutive unpaid issues and a continued rejection of his work, Ackerman resigned from his position. Aside from removing Ackerman’s name from the masthead, Ferry did not inform FM readers that they were no longer reading material by, or authorised by, Ackerman. Instead, Ferry infused his writing with Ackerman’s trademark puns, and mimicked his writing style, which led to legal action brought forth by Ackerman.

In 1997, Ackerman filed a civil lawsuit against Ferry for libel, breach of contract, and misrepresentation; Ferry had publicly claimed that Ackerman’s only connection with the new FM was as a hired hand and that Ferry “had to let Forry go” because he was no longer writing or editing for the magazine. Ferry also claimed rights to pen names and other personal properties of Ackerman. On May 11, 2000, the Los Angeles Superior Court jury decided in Ackerman’s favour and awarded him $382,500 in compensatory damages and $342,000 in punitive damages.

As of mid-2007, Ferry had been allowed to continue to publish issues of FM due to lack of efforts on the part of bankruptcy trustees and Ackerman’s lawyers to force the sale of the trademark or personal assets attached to his income. Ferry had also failed to pay any of the $720,000-plus cash judgment against him.

In late 2007, Philip Kim, an entrepreneur and a private equity investor, purchased the rights to the logo and title, entering into an agreement with Ackerman to use his trademarks to retain the magazine’s original look and feel. The new Famous Monsters of Filmland website was launched in May 2008 and on December 7, 2009, Kim announced the magazine’s return to print.

Ackerman died just before midnight on Thursday, December 4, 2008.

The revival of the classic horror magazine came in July 2010, with the publication of Famous Monsters of Filmland #251 at the Famous Monster Convention in Indianapolis, Indiana. The success of the print magazine at the Famous Monster Convention and Comic-Con International in San Diego yielded the announcement of the magazine’s expansion in distribution and circulation into major bookstore chains and independent retailers throughout North America and select markets in the US, Canada, and UK. Publisher Movieland Classics, LLC announced concurrently that the magazine would be entering into a bi-monthly publication schedule to meet the significant increase in requests from captivated readers beginning with Issue 253.

Writer and filmmaker Jason V Brock created The Ackermonster Chronicles!, a 2012 documentary about Ackerman. The movie is billed as the definitive film about Ackerman’s life and cultural influence, and features in-depth interviews with Ackerman, Ray Bradbury, John Landis, Greg Bear, Richard Matheson, Dan O’Bannon, Ray Harryhausen, David J. Skal, and others…

Wikipedia | Image thanks: CoverBrowser.com

Noted British screenwriter and producer Brian Clemens has died, aged 83.

Clemens is best known for his TV work, often in fantasy-based action series. His most famous creation is TV series The Avengers, which ran from 1961 to 1969, and was relaunched as The New Avengers in 1976.

He also produced action series The Professionals between 1977 and 1983 (with The New Professionals appearing in 1999) and Bugs between 1995 and 1999. As a writer, he contributed to the likes of popular TV productions Adam Adamant Lives, The Baron, The Champions, The Persuaders, Remington Steele and many more.

Yet, running throughout his career, was an involvement in the horror genre. In 1960, he wrote his first horror film, The Tell Tale Heart, based (very) loosely on the Poe story, and in 1965 he co-wrote Lindsay Shonteff’s Curse of the Voodoo.

In the early Seventies, he took a break from TV to concentrate on screenplay writing. His impressively low-key psycho thriller And Soon the Darkness (remade in 2010) was directed by Avengers alumni Robert Fuest, and he followed it with another psycho movie, Blind Terror, a year later.

These two films would ultimately form the template for his hit TV series Thriller, which ran from 1973 to 1976 and tended to specialise in ‘woman in peril’ stories, often treading the fine line between psychological thriller and horror, and occasionally crossing the line into outright supernatural stories.

For Hammer, he wrote Dr Jekyll and Sister Hyde, a film that belied its gimmicky title and somewhat subverted the Hammer gothic style, mixing Stevenson’s story with Burke and Hare and Jack the Ripper in a genre mash-up that was decades ahead of its time.

He followed this with Captain Kronos Vampire Hunter in 1972, which would be his only directorial credit. The film attempted to breathe new life into Hammer’s vampire cycle – by now flogged to death – by combining it with swashbuckling action courtesy of superhero-like Kronos. The movie blended humour, horror and action, and aside from a rather stiff central performance by Horst Jansen, proved to be tremendous fun.

It could’ve been a fresh start for Hammer, but they had no idea what to do with it and considered the film too weird. It was eventually slipped out as the bottom half of a double bill with last-gasp Frankenstein film Frankenstein and the Monster from Hell. Plans for further Kronos adventures were dropped, though the character did briefly live on, appropriately enough, as a comic strip in early issues of House of Hammer.

Between the Hammer films, Clemens wrote the Ray Harryhausen fantasy The Golden Voyage of Sinbad, and in 1980 he was the screenwriter for Disney’s family-oriented horror / science fiction crossover The Watcher in the Woods, which mixed haunted house spookiness with alien invasion. John Hough’s film was badly edited (with a new ending) in initial release, but has since built a strong reputation.

In the 1980s, Clemens once again concentrated on TV, writing one episode of horror anthology The Dark Room (1981) and two instalments of Hammer House of Mystery and Suspense (1984).

He wrote science fiction TV movie Timestalkers in 1987 and three episodes of supernatural anthology Worlds Beyond and one episode of Alfred Hitchcock Presents around the same time. His final cinematic writing credit was for the story for Highlander II: The Quickening in 1991.

IMDb

DF

‘Instrument of terror!’

The Brain is a 1962 science fiction murder mystery film with horror touches directed by Freddie Francis (Paranoiac; The Skull; The Vampire Happening) from a screenplay by Robert Stewart and Philip Mackie, loosely based upon Curt Siodmak novel Donovan’s Brain.

The film stars Anne Heywood (Ring of Darkness), Peter van Eyck (The Thousand Eyes of Dr. Mabuse), Cecil Parker, Bernard Lee, Maxine Audley and Jeremy Spenser. It was British-West German co-production, also released as Ein Toter sucht seinen Mörder (translation: “A Dead Man Seeks His Murderer”). The English language working title was Vengeance.

Plot teaser:

Called to a private aircraft crash scene, Dr. Peter Corrie (Peter van Eyck) tries to save the only survivor but realising their is no hope, decides to use the dying man’s brain in his own unique experiments.

However, it emerges that the brain belonged to ruthless millionaire industrialist Max Holt, a man with many enemies. The doctor soon finds that he has been possessed by the dead tycoon’s dominating personality and becomes obsessed with finding out who murdered him…

Reviews:

“Freddie Francis shoots in intensive closeups on forelit faces all in black-and-white, which emphasises a stark naked tension that was characteristic to 1960s thrillers. One of the more unusual parts is the casting of Peter Van Eyck. Van Eyck’s clipped Germanic directness and single-minded determination gives the film undeniable resonances of WWII German experiments.” Moria

“This is a slick science fiction/mystery story that kept me absorbed for the full 83 minutes. The cast is packed with faces familiar to fans of British films of the late 50s and 60s and every performance is great. I should mention that very surprisingly there is a brief bit of nudity from the gorgeous Anne Heywood that caused me to choke on my tea. Very nice!” Rodney Barnett, Bloody Pit of Rod

“Francis, always a better director of than of science fiction, plods through Mackie and Stewart’s well-thumbed script.” Phil Hardy (editor), The Aurum Film Encyclopedia: Science Fiction

” …makes the old material work effectively.” John Stanley, Creature Features

Choice dialogue:

“I’m in no mood to listen to a violent psychopath!”

Cast:

• Anne Heywood as Anna Holt
• Peter van Eyck as Dr. Peter Corrie
• Cecil Parker as Stevenson
• Bernard Lee as Dr. Frank Shears
• Jeremy Spenser as Martin Holt
• Maxine Audley as Marion Fane
• Ellen Schwiers as Ella
• Siegfried Lowitz as Mr. Walters
• Hans Nielsen as Immerman
• Jack MacGowran as Furber
• Miles Malleson as Dr. Miller
• George A. Cooper as Thomas Gabler
• Victor Brooks as Farmer at Crash Site (uncredited)
• Allan Cuthbertson as Da Silva (uncredited)
• John Junkin as Frederick (uncredited)
• Bryan Pringle as Dance-Hall MC (uncredited)
• Patsy Rowlands as Young Woman at Dance Hall (uncredited)
• Alister Williamson as Inspector Pike (uncredited)

Wikipedia | IMDb

‘Horror guaranteed to shock you dead or your life refunded!’

Fantastic Monsters of the Films was a 1962 – 1963 American horror magazine published by Black Shield Productions.

The mag was the brainchild of movie archivist/actor Bob Burns and make-up and special effects creator Paul Blaisdell (his monsters graced the covers of issues 2 to 6). Burns and Blaisdell hired editors Jim Harmon (also editor of Monsters of the Movies in the mid-seventies) and actor/writer Ron Haydock to write provide the text.

Blaisdell contributed special effects articles under the banner “The Devil’s Workshop” and each issue included a “Monster of the Month” colour fold-out poster. Artist Larry Byrd drew a special Son of Frankenstein wraparound cover for no. 7.

A planned issue no. 8 never materialised, apparently due to a fire at the printers and the magazine folded thereafter.

Buy Paul Blaisdell, Monster Maker from Amazon.com | Amazon.co.uk

Bob Burns website | We are grateful to Monster Magazines for background information

In the 1960s, ads appeared in US comics and magazines for “Monster Briefs in Color!” for the “guy who has everything!” Everything but a girlfriend, perhaps?

The garish men’s undies were adorned with reproductions of covers from Creepy, Eerie and Famous Monsters of Filmland and made from “100% stretchable nylon”. So, presumably the guy who has “everything” also had sweaty, itchy tackle. Surely, another guaranteed way to attract the opposite sex?

Still, “a fashionable monster wouldn’t be caught dead without them”…

Adrian J Smith, Horrorpedia

‘A cult of undead creatures seek fresh, warm, human blood!’

The Blood Drinkers is a 1964 Filipino horror film – original title: Kulay dugo ang gabi “Blood is the Colour of Night” – directed by Gerardo De Leon (Terror is a Man; Brides of Blood; Mad Doctor of Blood Island) from a screenplay by Cesar Amigo.

In the US, it was released by Hemisphere Pictures in 1966 on a double-bill with The Black Cat. It has also been released a Vampire People.

Producer Cirio H. Santiago also directed a couple of horror movies (Vampire Hookers; Demon of Paradise) but is mainly known for his prolific action movie output.

The film stars Ronald Remy, Amalia Fuentes, Eddie Fernandez, Eva Montes, Celia Rodriguez, Renato Robles, Mary Walter, Paquito Salcedo. Ubiquitous Filipino actor Vic Diaz (Vampire Hookers) provides the voice of a priest and narrator.

Plot teaser:

A vampiric aristocrat, Dr Marco (Ronald Remy), is traumatised that his beloved Katrina is dying. So, he travels to a village to take the heart and blood of her twin sister Christine (both played by Amalia Fuentes) in order to save his beloved. Aided by a hunchbacked assistant, a sexy female vampire named Tanya (Eva Montes), and a flapping bat, he terrorises the local people until a young traveller named Charles (Eddie Fernandez) arrives to fight off evil…

Reviews:

The Blood Drinkers is an odd film that floats back and forth between being quite campy at times, and quite effective at others. On the one hand you have some really cheesy elements. There’s a extremely fake looking bat that keeps showing up, complete with wires attached. Marco’s dwarf henchman has ridiculous snaggletooth makeup and keeps making silly “ooh ooh” noises … On the other hand, Marco is a legitimately creepy vampire. Many scenes are effectively eerie and there is a fair degree of creative photography on display.” Forgotten Films

” …there are striking images on display that show the meeting of traditional Gothic vampire films with the modern age (in this case, 1964). There is a power and sense of humor behind shots of Dr. Marco draped in his black cape, while wearing wrap-around sunglasses. Even more tongue-in-cheek, but no less beautiful, is a shot of a horse-drawn carriage transporting an ornate coffin, with a cherry red convertible right behind it … an interesting, but flawed, entry in the genre.” Obsessive Movie Nerd

Buy The Blood Drinkers on DVD from Amazon.com | Amazon.co.uk

“Although the editing is jerky and the English dubbing perfunctory, De Leon makes good use of emotive red and blue sequences to punctuate the black and white film. The film also features an interesting fight between the hero and the vampire in which the villain annoys his opponent by constantly rendering himself invisible.” Phil Hardy (editor), The Aurum Film Encyclopedia: Horror

” …the atmosphere is remarkable. It’s consistently thick, heady, dreamy, and mysterious, with a subdued sexuality. Most scenes are shot at night, swirling with fog, bathed with moonlight, speckled with candles. The stone cemetery and tall mausoleum appear often enough to be considered characters. The unobtrusive score flows beneath the film like an underground river. A theremin accents the vampire attacks…” David Elroy Goldweber, Claws & Saucers

Buy Claws & Saucers book from Amazon.co.uk | Amazon.com

” …the visual star of the film is the decision to film large parts of it in black and white that was later on tinted, mostly in quite striking red and blue tones.

This lends the film a mood of unreality which fits its rather illogical plot-progression and jumpy editing perfectly, lending the air of a dream to flaws that were probably based on mere incompetence or lack of funds.” The Horror!?

” …some wonderful use of lighting and smoke and what would be a poor budget looks greater than it should. The film has narration throughout from the priest and takes a very Catholic approach to the subject, so there is no attempt at camp or kitsch here. This is indeed a limited script and scenes are clearly lost but The Blood Drinkers is a gem which should appeal to fans of Bava’s gothics or Marins’ Coffin Joe films.” John White, 10k Bullets

“The film is full of baroque, even outrageous touches (an explanation for vampirism and wooden stakes involving the vampirus bacillus (borrowed from Richard Matheson, perhaps?); a suggestion of vampiric fellatio). But perhaps the strangest sequence in the whole film is the moment when Dr. Marco and Katrina are saved by, yes, the power of prayer. The moody black-and-white cinematography gives way to a flood of (somewhat faded), Technicolor (to indicate a return to normalcy), and the two lovers walk through what looks like a botanical garden gone wild, all lush greenery and tropical blooms.” Critic After Dark

IMDb

Hallucinations of a Deranged Mind (Portuguese: Delírios de um Anormal) is a 1978 Brazilian horror film directed by José Mojica Marins. Marins is also known by his alter ego Zé do Caixão (in English, Coffin Joe). The film features Coffin Joe as the central character, although it is not part of the “Coffin Joe trilogy”.

The story is built around a montage of scenes that were omitted or censored from four of Marins’ earlier films: Awakening of the Beast, This Night I’ll Possess Your Corpse, The Bloody Exorcism of Coffin Joe and The Strange World of Coffin Joe. Marins filmed approximately 35 minutes of new scenes, also adding the characters to the plot. In the film, he portrays himself as well as the fictional character of Coffin Joe.

Plot teaser:

Dr. Hamílton is a psychiatrist terrorised by nightmares in which Coffin Joe tries to steal his wife. His colleagues decide to seek medical help with the assistance of filmmaker Jose Mojica Marins (appearing as himself), who tries to reassure Dr. Hamílton that Coffin Joe is merely a creation of his mind…

Reviews:

“Things open the usually bizarre way with a man screaming, a hunchback playing a bongo drum while walking circles around a bikini-clad woman, female body parts appearing from out of frame, hand-crafted credits with blood-dripping lettering on yellow paper, distorted, slowed-down chanting and a nightmare sequence of Coffin Joe admiring an obedient, subservient “superior woman” while simultaneously chastising his competition (“… anguish and pain is the perpetual punishment for the weak and inferior ones!”) Bloody Pit of Horror

Buy the Coffin Joe Collection on DVD from Amazon.co.uk

” …it does collect the strongest, funniest, most gruesome and most imaginative imagery of all the Coffin Joe pictures. This does not make the film an ideal starting point for fans of the genre that really want to get to enjoy Marins’ work. Ripped from their original plot the scenes lose most of their value reducing the director and his creation to a caricature.” Razor Reel

” … an excuse to show a seemingly endless barrage of crazy imagery consisting of scenes that were omitted or censored from four of Marins’ earlier films. One of these four films is Awakening of the Beast, which is a much better example of the director’s attempt at meta-horror.” Letterboxd

Cast:

• José Mojica Marins as Himself/Coffin Joe
• Jorge Peres as Dr. Hamilton
• Magna Miller as Tânia, wife of Dr. Hamilton
• Jayme Cortez
• Lírio Bertelli
• Anadir Goi
• João da Cruz
• Alexa Brandwira
• Walter Setembro
• Natalina Barbosa

Wikipedia | IMDb

Boris the Spider is a song written by The Who‘s former bass guitarist, John Entwistle. It appears as the second track of their 1966 album A Quick One. This song is claimed to be Entwistle’s first composition, and became a staple of live shows. Boris the Spider was written swiftly as a joke after Entwistle had been out drinking with the Rolling Stones‘ bass guitarist, Bill Wyman.

The chorus of “Boris the Spider” was sung in basso profundo by Entwistle (which possibly helped give birth to the “death growl“), with a middle eight of “creepy crawly” sung in falsetto. These discordant passages and the black comedy of the theme made the song a stage favourite and it was the only song from that album which lasted throughout the Who’s live career.

According to Pete Townshend in his song-by-song review of Meaty Beaty Big and Bouncy for Rolling Stone, it was Jimi Hendrix’s favourite Who song. There is a Long Island beer company named Spider Island that produces a “Russian Imperial Stout” named Boris the Spider…

Wikipedia | Metal Injection

The Raven is a 1963 American comedy horror film produced and directed by Roger Corman. The film stars Vincent Price, Peter Lorre, and Boris Karloff as a trio of rival sorcerers. The playful, lively score is by Les Baxter.

It was the fifth in the so-called Corman-Poe cycle of eight films largely featuring adaptations of Edgar Allan Poe stories produced by Roger Corman and released by American International Pictures (AIP). The film was written by Richard Matheson, based on references to Poe’s poem “The Raven“. The supporting cast includes Hazel Court and a young Jack Nicholson.

Roger Corman and Richard Matheson had both enjoyed making the comic The Black Cat episode of Tales of Terror and wanted to try an entirely comic Poe feature. “After I heard they wanted to make a movie out of a poem, I felt that was an utter joke, so comedy was really the only way to go with it,” said Matheson.

A novelisation of the film was written by Eunice Sudak adapted from Matheson’s screenplay and published by Lancer Books in paperback. This novel was republished by Bear Manor Media in 2012.

On March 9, 2015, Arrow Video are releasing The Raven on Blu-ray in the UK. Special features include:

• High Definition Blu-ray (1080p) presentation of the feature, transferred from original film elements by MGM
• Original uncompressed Mono PCM Audio
• Optional English subtitles for the deaf and hard of hearing
• Peter Lorre: The Double Face, Harun Farocki’s 1984 documentary
• Richard Matheson: Storyteller, an interview with the legendary novelist and screenwriter
• Corman’s Comedy of Poe, an interview with Roger Corman about making The Raven
• The Trick, a short film about rival magicians by Rob Green (The Bunker)
• Promotional Record
• Stills and Poster Gallery
• Original Theatrical Trailer
• Reversible sleeve with original and newly commissioned artwork by Vladimir Zimakov
• Collector’s booklet featuring new writing by Vic Pratt and Rob Green, illustrated with original stills and artwork

Buy The Raven on Blu-ray from Amazon.co.uk

Plot teaser:

Set during the 15th century, the sorcerer Dr. Erasmus Craven (Vincent Price) has been mourning the death of his wife Lenore (Hazel Court) for over two years, much to the chagrin of his daughter Estelle (Olive Sturgess). One night he is visited by a raven, who happens to be a transformed wizard, Dr. Bedlo (Peter Lorre). Together they brew a potion that restores Bedlo to his old self.

Bedlo explains he had been transformed by the evil Dr. Scarabus (Boris Karloff) in an unfair duel, and both decide to see Scarabus, Bedlo to exact revenge and Craven to look for his wife’s ghost, which Bedlo reportedly saw at Scarabus’ castle. After fighting off the attack of Craven’s coachman, who apparently acted under the influence of Scarabus, they set out to the castle, joined by Craven’s daughter Estelle and Bedlo’s son Rexford (Jack Nicholson).

At the castle, Scarabus greets his guests with false friendship, and Bedlo is apparently killed as he conjures a storm in a last act of defiance against his nemesis. At night, Rexford finds him alive and well, hiding in the castle. Craven, meanwhile, is visited and tormented by Lenore, who is revealed to be alive and well too, having faked her death two years before to move away with Scarabus. As Craven, Estelle, Rexford and Bedlo try to escape the castle, Scarabus stops them, and they are tied and locked up. Bedlo panics and flees away in raven form, having convinced Scarabus to turn him back into bird form rather than face torture…

Reviews:

“It’s really a shame, given the high caliber of what has preceded it, that the climactic duel of magic is both so incredibly long and so incredibly lame. Ending a movie with a huge special effects set-piece is always a risky proposition, but it becomes a sure-fire formula for outright disaster when there’s no money in a movie’s budget for special effects! Up to this point, The Raven has been a comfortably low-key movie, driven by acerbic wit, careful characterization, and brilliant casting.” 1000 Misspent Hours and Counting

“The whole thing is played very tongue in cheek and is mostly about having fun not being terrified. The final battle between Karloff and Price is really entertaining and fun to watch; it is very reminiscent of the wizard’s duel in The Sword in the Stone released the same year. The special effects are dated but actually, considering the year and the budget, very effective and fun.” 31 Days of Terror

“A snappy little parody of a horror picture cutely calculated to make the children scream with terror while their parents scream with glee.” Time (1963)

Choice dialogue:

The Raven (Peter Lorre): “Will you give me some wine!”

Cast:

• Vincent Price as Dr. Erasmus Craven
• Peter Lorre as Dr. Adolphus Bedlo
• Boris Karloff as Dr. Scarabus
• Hazel Court as Lenore Craven
• Olive Sturgess as Estelle Craven
• Jack Nicholson as Rexford Bedlo
• Connie Wallace as Maid
• William Baskin as Grimes
• Aaron Saxon as Gort
• Dick Johnstone as Roderick Craven (uncredited)
• Mark Sheeler

Wikipedia | IMDb

Santo and Blue Demon vs. the Monsters – original title: Santo y Blue Demon contra los Monstruos – is a 1969 Mexican action horror movie directed by Gilberto Martínez Solares from a screenplay by Rafael García Travesi and Jesús Sotomayor Martínez for Sotomayor productions.

The film stars masked wrestlers Santo and Blue Demon, plus Jorge Rado, Carlos Ancira, Raúl Martínez Solares, Hedi Blue, Vicente Lara, Manuel Leal, Gerardo Zepeda, David Alvizu, Fernando Rosales.

Plot teaser:

To foil his plan for world domination, wrestling superheroes Santo and Blue Demon battle the mad Dr. Halder and his army of reanimated monsters: The Vampire, The Female Vampire, Franquestain, The Cyclops, The Wolfman, The Mummy and zombie thugs…

Reviews:

” …probably the grooviest of the bunch. A mad doctor revives a ton of horror movie monsters (wait, so they’re monsters AND undead?) and brainwashes them to do his bidding. There’s a spanking good sequence at the start of the flick that introduces each monster, one by one …

If you’re a fan of B-movie grandeur, do yourself a favor and check this bad boy out.” Analog Medium

“Despite the budget woes and quality issues, Santo and Blue Demon vs the Monsters still ends up being a fun flick, and is among the Santo films you should see first just to get your toes wet.

If you can handle Santo and Blue Demon punching their way through a castle filled with people in bad masks, you are ready to expand your journey.” TarsTarkas.net

“Still, despite all obstacles, Santo y Blue Demon contra los Monstruos staunchly resists the temptation to laugh at itself, and that is what really sells it. One wink, one moment of intentional camp, and it would have become unbearable, but, instead, every actor who looked upon those pitifully ridiculous monsters reacted to them as if they were the gravest threat ever faced by mankind. And bless them for it.” Teleport City

IMDb | Visit Teleport City for a detailed review and more images | Related: The Ship of Monsters

The House in Marsh Road  – US TV title: Invisible Creature – is a 1960 British supernatural horror film directed by Montgomery Tully (The Electronic Monster; The Terrornauts) from a screenplay by producer Maurice J. Wilson, based on the story The House on Marsh Road by Laurence Meynell.

The film stars Tony Wright (The Man Who Haunted Himself; The Creeping Flesh), Patricia Dainton, Sandra Dorne (Devil Doll; The Playbirds), Derek Aylward, Sam Kydd (Island of Terror; The Projected Man), Llewellyn Rees, Anita Sharp-Bolster (Dr. Jekyll and Mr. Hyde, TV series; The Hands of Orlac).

Plot teaser:

When his young wife (Dainton) inherits ‘Four Winds’, an old house in the countryside, a bored alcoholic writer (Wright) plots to murder her so he can inherit the property and marry a curvaceous blonde divorcee (Dorne) instead. However, the resident poltergeist intervenes…

Buy on DVD from Amazon.co.uk

Reviews:

‘ …entertaining and atmospheric low-budget feature rises above the standard expected from the much-maligned B-movie.’ BritMovie.co.uk

‘This is a rather tame supernatural thriller…’ Phil Hardy (editor), The Aurum Film Encyclopedia: Horror

Choice dialogue:

“Everything and everybody in this town’s gone supernatural!”

Cast:

• Tony Wright – David Linton
• Patricia Dainton – Jean Linton
• Sandra Dorne – Valerie Stockley
• Derek Aylward – Richard Foster
• Sam Kydd – Morris Lumley
• Llewellyn Rees – Webster
• Anita Sharp-Bolster – Mrs. O’Brien
• Roddy Hughes – Daniels
• Harry Hutchinson – Landlord
• Olive Sloane – Mrs. Morris
• Geoffrey Denton – Police Inspector
• Olga Dickie – Hotel Proprietress

Wikipedia | IMDb

Terror in the Crypt – also known as Crypt of  Horror – is a 1964 Italian/Spanish horror film directed by Camillo Mastrocinque [credited as Thomas Miller] (An Angel for Satan), from a screenplay by Ernesto Gastaldi and Tonino Valerii (also assistant director).

The story was loosely based on Sheridan Le Fanu’s lesbian-themed novella Carmilla. The film’s original release titles are La cripta e l’incubo and La Maldicion de los Karnstein. The score was by Carlo Savina (see below).

Cast:

Christopher Lee, Adriana Ambesi, Ursula Davis, José Campos, Véra Valmont, A. Midlin, Carla Calò, Nela Conjiu, José Villasante.

Plot teaser:

Count Ludwig Karnstein (Christopher Lee) dreads his daughter may fall prey to the curse upon his family, a curse which promises the witch Sheena will eventually be reincarnated in a Karnstein descendant. Could Laura really be a vampiric killer?

Reviews:

‘With its cheesy Sunday afternoon horror thrills (and some wild-eyed and voluptuous ladies), Crypt of the Vampire is a whole lot of fun. There’s melodrama, mysterious manuscripts and some gruesome business involving the severed hand of a hunchbacked beggar.’ Doomed Moviethon

‘Brimming with atmosphere and shot in glorious black and white in and around authentic gothic ruins, Crypt of the Vampire has all the proper ingredients to affix it to the better movies made during the salad days of Italian horror. Although the film is sluggish at times, veteran director Mastrocinque … instills some truly haunting and shadowy imagery, especially when Laura’s macabre fever dreams are in full swing.’ George R. Reis, DVD Drive-In

‘The crepuscular atmosphere with candlelit interiors, the obligatory crypt and, on stormy nights, a bell tolling in a ruined church, lack the bite of a genuinely perverse force while all attempts at eroticism are foiled by the bovine incomprehension of the participants.’ Phil Hardy (editor), The Aurum Film Enclyclopedia: Horror

Buy Italian Gothic Horror Films from Amazon.com |  Amazon.co.uk 

Choice dialogue:

“I like these ancient castles… they have such an atmosphere of mystery.”

“I’ve killed her. I’m a monster! I want to die!”

IMDb

The Premature Burial is a 1962 US horror film, directed by Roger Corman from a screenplay by Charles Beaumont and Ray Russell, based upon the 1844 short story of the same name by Edgar Allan Poe. It stars Ray Milland, Hazel Court, Alan Napier, Heather Angel and Richard Ney.

Corman had made two successful adaptations of Poe’s works for American International Pictures (AIP) starring Vincent Price. He decided to make his own Poe film with financing through Pathe Lab. He wanted to use Price, but AIP had him under exclusive contract, so he cast Ray Milland instead. On the first day of shooting AIP’s James Nicholson and Sam Arkoff turned up, announcing Corman was working for them – they had threatened Pathe with the loss of their business if they did not bring the movie back to AIP.

Francis Ford Coppola (Dementia 13; Bram Stoker’s Dracula; Twixt) worked on the movie as dialogue director.

Plot teaser:

Guy Carrell (Milland), who is obsessed with the fear of death. He is most obsessed with the fear of being buried alive. Though his fiancee Emily says he has nothing to be afraid of, he still thinks he will be buried alive (a common fear and in reality an occasional occurrence). So deluded, he seeks help from a few people, including his sister, but he still is haunted by the fear of death and the sense that someone close wants him dead…

Buy The Premature Burial on Blu-ray from Amazon.com

Reviews:

‘Oh and Milland was fine, not much of a surprise since he IS an Oscar winner. I mean, he’s no Price, but who is? He’s got the perfect look, where you can buy him as a villain or a hero quite easily – a benefit during the back and forth finale. The rest of the cast is also pretty good; it’s always nice to see Hazel Court, and Alan “Batman TV show Alfred” Napier is great as a doctor who at one point stands by looking bored when Milland is found “dead”. It seems like they were putting some effort into making up for Price’s absence by having a lot of the characters give dryly sarcastic reactions to things, as he would; if so – it worked!’ Horror Movie a Day

‘There is the nucleus of a good movie in The Premature Burial. Unfortunately, most of that nucleus is recycled from The Fall of the House of Usher and The Pit and the Pendulum, and three consecutive movies spent tinkering with the same material is at least one too many. Indeed, the only feature this film has with which to establish its own voice is Guy’s delightfully paranoid design for his tomb, and it isn’t in the movie for very long. Everything else— the catalepsy, the “revenge of the resurrected,” the grave robbers, the crooked doctor, the setting, the basic story structure— is lifted either from one of the previous AIP Poe movies…’ 1000 Misspent Hours and Counting

‘A shocker rather than a chiller, Corman conjures up some colourful, cobwebbed Poe atmosphere with swirling mists, petrified corpses and dank atmospheric suspense; and Milland’s dream sequence is genuinely frightening. But while Premature Burial does have the same rich décor and Gothic trappings as House of Usher and The Pit and the Pendulum, the screenplay relies too heavily on elements from those films, and Milland lacks Price’s barnstorming qualities.’ Peter Fuller, The Spooky Isles

Cast:

• Ray Milland as Guy Carrell
• Heather Angel as Kate Carrell, Guy’s sister
• Hazel Court as Emily Gault, Guy’s wife
• Alan Napier as Dr. Gideon Gault
• Richard Ney as Miles Archer
• John Dierkes as Sweeney
• Dick Miller as Mole
• Clive Halliday as Judson
• Brendan Dillon as Clergyman

Wikipedia | IMDb

Famous Monsters Speak was a 1960s album written by Cherney Berg and voiced by Gabriel Dell. Sold via the ads in the back pages of Famous Monsters of Filmland magazine, the record featured “50 minutes of sheer terror” as Frankenstein’s Monster and Dracula delivered morbid monologues.

‘The Frankie side doesn’t quite come off, but Dell’s Dracula, speaking Interview With a Vampire-style to a nosy writer who has disturbed his slumber, is memorable.’ M.V. Moorhead, Less Hat, Moorhead.

The album was later reissued as a CD.

Buy Famous Monsters Speak on CD from Amazon.co.uk | Amazon.com

We are grateful to the Less Hat, Moorhead blog for images, review quote and info.